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Documenta 15 reads like a series of creative workshops staged by corporate HR departments to boost loyalty at the lowest possible cost. Perhaps the next Documenta should be curated by an artist.

Queer Britain and Queercircle mark capital’s transition from appropriation of queer culture to full-scale colonisation.

Sometimes, ‘it’s not race, it’s class’ is the correct response to inequality.

Social artists do not have a monopoly over the social. They do not even have a monopoly over art. But they'd sure like to.

In the biennial, art could do all the things that we like to believe that art can do: deliver us from our concerns, transcend the limits of our imaginations, inspire us, give us hope. Art could do all those things. But often, it doesn't.

Investigative Aesthetics draws on theories of knowledge, ecology, and technology; evaluates the methods of citizen counter-forensics, micro-history and art.

If a researcher tracing the role of the meme to the politicisation and radicalisation of online communities struggles to keep up what hope does an artist have?

How to understand propaganda art in the post-truth era — and how to create a new kind of emancipatory propaganda art. Propaganda art—whether a depiction of joyous workers in the style of socialist realism or a film directed by Steve Bannon — delivers a message.

Crisis? What Crisis? The lack of a single dominant voice in criticism is not a weakness, but a strength.

How do we think in a world where 'nothing works'? How do we formulate alternative approaches to the world’s unresponsive or intractable dilemmas, from climate change, to inequality, to concentrations of authoritarian power?

Are contemporary art museums purely public affairs? How do private collections serve the greater good? What happens when these missions become confused? How should we account for the cost (in tax revenue, no least) of the philanthropist's gesture?

How can men and women live together well in a world where capitalism has replaced the values – family, religion, service, and honour – that used to give our lives meaning?

Artists from Kurt Cobain to Amy Winehouse command fascination not only for their work but also foe their drug addictions and the manner of their death. Communions is an attempt to understand the role that opiates play in the artistic lives of those who are gripped by addiction.  

Snow asked his literary colleagues about the Second Law of Thermodynamics. “The response was cold: it was also negative. Yet I was asking something which is the scientific equivalent of: Have you read a work of Shakespeare's?”

Class may be the ultimate English taboo. The understanding and signalling of class or other identity attributes may become an obstacle to classical class analysis. An entirely different political class narrative may be called for that transcends the boundaries of sociological understanding before returning to the discipline once again.

Contemporary art's profound paradox: the drive to become more inclusive for its audiences ultimately contributed to the inequalities experienced by its workforce.

Is the fiction of arts's economic value now the key measure of culture? Are we now willingly econo-cultural agents? Does it matter that we don't understand the figures?

Are art and its institutions ready to desert from the culture wars and engage with the subconscious?There are many places that need to be occupied, but the museum is not on the list.