W H A T D O I K N O W (U N) S U S T A I N A B L E P R A C T I C E S Edited by Alejandro Cerón

ART FOR UBI (MANIFESTO)

TRADING ZONES – CAMERA WORK IN ARTISTIC AND ETHNOGRAPHIC RESEARCH

WHY ART CRITICISM? A READER Ed. by Beate Söntgen & Julia Voss

THINKING THE PHOTOBOOK: A PRACTICAL GUIDE by Bettina Lockemann

SONIC TECHNOLOGIES: POPULAR MUSIC, DIGITAL CULTURE AND THE CREATIVE PROCESS by Robert Strachan

A PUBLISHERS PERSPECTIVE ON THE ART BOOK FAIR: A CRITICAL RESPONSE by Be Oakley

AGAINST ARTSPLOITATION UNIONIZING THE NEW MUSEUM by Dana Kopel

QUEER PRINT IN EUROPE Edited by Glyn Davis & Laura Guy

BIE BAO VOLUME 2 by Edited by Sezgin Boynik

THE MARKETPLACE OF ART by Karel Teige

BLACK OOT HERE: BLACK LIVES IN SCOTLAND by Francesca Sobande and layla-roxanne hill

WHAT MAKES AN ASSEMBLY? STORIES, EXPERIMENTS, AND INQUIRIES edited by Anne Davidian, Laurent Jeanpierre

ART SEX KNOWLEDGE POWER by Rosie Penny

BENEATH WHITENESS by Ethan Keating

WHO CAN AFFORD TO BE CRITICAL? by Afonso Matos (Ed.)

CAN YOU FEEL IT? EFFECTUATING TACTILITY AND PRINT IN THE CONTEMPORARY Ed. by Freek Lomme

FUGITIVE FEMINISM by Akwugo Emejulu

SELF-DEFENSE: A PHILOSOPHY OF VIOLENCE by Elsa Dorlin

THE GOOD LIFE FOR WAGE SLAVES by Robert Wringham

CHIMERAS by Daniela Cascella

THE ESSAYER by Various Artists

CAPITALIST REALISM by Mark Fisher

AUTOTHEORY AS FEMINIST PRACTICE IN ART, WRITING, AND CRITICISM by Lauren Fournier