Чернильный камень — это не просто инструмент для растирания чернил, но и предмет искусства, ценность, предмет обмена между друзьями или даже суверенными государствами. Чернильный камень уже более тысячелетия связан с культурой вэнь (письмо, литература, ученость) в Китае, Корее и Японии, однако до сих пор практически не известен на Западе. Исследуя императорские мастерские в Запретном городе, каменоломни Дуань в провинции Гуандун, коммерческие мастерские в Сучжоу и дома коллекционеров в провинции Фуцзянь, Дороти Ко прослеживает связь чернильных камней с придворной жизнью и обществом и показывает, как сотрудничество между ремесленниками и учеными создало новый социальный порядок.

Mixed Media investigates Black and white artists' efforts toward racial integration, from the infamous 1931 Scottsboro Boys trial until Brown v. Board's 1954 desegregation of public schools. Each chapter attends to a distinctive visual ecology fostered by institutions and individuals committed to desegregation to varying degrees, including the nationwide public art initiatives of the New Deal, the imagery and cultural programs of the multiracial Popular Front, graphics produced for CIO-member labor unions, Jacob Lawrence's war paintings and other visual propaganda of the armed forces, and the struggle of New York abstract painters of African descent to navigate the criticism, museums, and markets of the mainstream art world. Together, they explore the divergent approaches to conceptualizing and implementing racial integration along the liberal-radical axis.
 

Mixed Media investigates Black and white artists' efforts toward racial integration, from the infamous 1931 Scottsboro Boys trial until Brown v. Board's 1954 desegregation of public schools. Each chapter attends to a distinctive visual ecology fostered by institutions and individuals committed to desegregation to varying degrees, including the nationwide public art initiatives of the New Deal, the imagery and cultural programs of the multiracial Popular Front, graphics produced for CIO-member labor unions, Jacob Lawrence's war paintings and other visual propaganda of the armed forces, and the struggle of New York abstract painters of African descent to navigate the criticism, museums, and markets of the mainstream art world. Together, they explore the divergent approaches to conceptualizing and implementing racial integration along the liberal-radical axis.
 

Mixed Media investigates Black and white artists' efforts toward racial integration, from the infamous 1931 Scottsboro Boys trial until Brown v. Board's 1954 desegregation of public schools. Each chapter attends to a distinctive visual ecology fostered by institutions and individuals committed to desegregation to varying degrees, including the nationwide public art initiatives of the New Deal, the imagery and cultural programs of the multiracial Popular Front, graphics produced for CIO-member labor unions, Jacob Lawrence's war paintings and other visual propaganda of the armed forces, and the struggle of New York abstract painters of African descent to navigate the criticism, museums, and markets of the mainstream art world. Together, they explore the divergent approaches to conceptualizing and implementing racial integration along the liberal-radical axis.
 

The United States vs Alfredo Martinez documents the life and work the New York City-based artist notorious for forging the works of artists like Jean-Michel Basquiat and Keith Haring. He was arrested for wire fraud after selling forged Basquiats and sentenced to time in prison in 2002. During his time in prison, Martinez continued making art using unconventional materials like coffee and fruit juice and his work was even featured in gallery shows. He saw his imprisonment as a "publicity stunt" and an opportunity to make a statement about the art world's valuation of authenticity and money. He even gave a forgery master class as part of The Downtown Biennial where attendees learned how to create a fake Basquiat. Martinez later collaborated with and mentored Anna Delvey (Anna Sorokin), a con artist who had also been imprisoned for defrauding the art world. Martinez curated a show of Delvey’s work, and even created some of the pieces himself when she faced prison restrictions. Alfredo Martinez passed away in 2023 at the age of 56. His life and unconventional approach to art cemented his place in New York's underground art scene and earned him a spot in collections like the Museum of Modern Art (MoMA) and the Rothschild Collection.