An A6 arts quarterly, distributed free in book shops and art galleries globally.

• Cover: Camille Paglia photographed by Heji Shin
• Hell Ain’t a Bad Place to be by Charles Asprey
• Camille Paglia On Alcohol and the National Minimum Drinking Age Act
• Camille Paglia On Kenneth Clark’s The Nude (1956)
• Daniel Pflumm: Hallo TV
• The Figures of Ain Ghazal
• Sacha Craddock on Alberto Savinio
• Arabic Typography: Lara Assouad’s Alphabet
• Alfred Kubin at The Lenbachhaus, Munich
• Cady Noland: An everyday hardware of brutality. As told by Kirsty Bell
• Picpus flea logo: Christian Flamm

This book is both a record and a theoretical expansion of the exhibition “All Men Become Sisters” at the Muzeum Sztuki in Łódź. Dedicated to the manifestation of sisterhood in art from the 1970s until today, the exhibition and the publication focus on art that resonated with feminist perspectives on work, production, and reproduction. “Sisterhood” is a key concept and an impulse to work with imagination; built on the foundations of second-wave criticism of the patriarchal exploitation of women, it poses questions about the future from the perspective of feminist economics and ethics of care. The exhibition included the following artists: Berwick Street Film Collective, Pauline Boudry/Renate Lorenz, Sarah Browne, Agnieszka Brzeżańska, Jan Czapliński, Ines Doujak in cooperation with John Barker, Köken Ergun, Hackney Flashers, Krystyna Gryczełowska, Margaret Harrison, Elżbieta Jabłońska, Birgit Jürgenssen, Irena Kamieńska, Ola Kozioł/Suavas Levy, Nalini Malani, Marge Monko, Şükran Moral, Teresa Murak, Letícia Parente, Agnieszka Piksa, Marcin Polak, Aleksandra Polisiewicz, Raqs Media Collective, R.E.P., Alicja Rogalska, Daniel Rumiancew, Jadwiga Sawicka, Allan Sekula, Jo Spence, Rosemarie Trockel, Agnès Varda, Mona Vǎtǎmanu/Florin Tudor, Zorka Wollny Copublished with Muzeum Sztuki, Łódź. Designed by Monika Zawadzki, Olo Jean-Claude Zawadzki

Female Orgasm: A codex of sorts, after Ursula K Le Guin is a hand screen-printed artists’ book by Emily Floyd produced in collaboration with Experimental Jetset, Amsterdam, published and printed by Negative Press, Melbourne, with text supplement by Anneke Jaspers. A typographic response to Le Guin’s Kesh word BANHE, meaning “acceptance, inclusion, insight, understanding; female orgasm. To include; to comprehend; to have orgasm (female).” The project belongs to a body of works that retrieve Le Guin’s language from an indefinitely deferred future, activating its revolutionary desire in the present.

Bill 2 is the second issue of an annual magazine of photographic stories, edited and designed by Julie Peeters. Twelve contributors present new or previously unpublished work. Bill prioritizes visual reading without distraction, the images that appear in the magazine are printed without any accompanying text. Contributors to the second issue are: Gintaras Didziapetris, Jason Dodge, Archiv Hans Hollein, Inge Ketelers, Tadashi Kurahashi by Tadanori Yokoo–Tadanori Yokoo by Tadashi Kurahashi, Jochen Lempert, Raimundas Malasauskas, Bart Julius Peters / T L P S, Reto Schmid, Megan Francis Sullivan, Linda van Deursen, Ann Woo, and Jiajia Zhang.

The Number of Inches Between Them continues a body of work in which Hall creates replicas of found, one-of-a-kind pieces of furniture. The replicas refer to objects Hall has encountered by chance and feels a magnetic attraction to, furniture that the artist wants to investigate physically through remaking. The Number of Inches Between Them doubles a geometric stone bench happened upon in a friend’s backyard in 2016. The replication is done twice: first as eight cast concrete interlocking panels that are shown assembled as a twin of the bench, and second as the same set of eight concrete panels presented disassembled and leaning against the walls of the gallery.

Kunstverein’s in-house magazine is a cross between an academic journal and a darts club newsletter. Each issue contains a limited amount of contributions that vary in length according to the subject matter at hand. The remit of ‘Ginger&Piss’​ is simple: to provide a platform for candid critique but at the same time allow the author to stay hidden. Therefore, each contributor writes under a pseudonym. ‘The Intern’ is both the theme and mastermind behind the fourth issue of ‘Ginger&Piss’. With contributions by A. D. Cinzano, Even Steven, The Great Illusionist, Jennifer Jessica Jane, ………… …….. Office, Mads-Egil Petersen, and Roxana Rosenthal.