Jean Bundy’s book review, Academic Writing as if Readers Matter by Leonard Cassuto (Princeton, 2024) presents a no-nonsense approach to writing clearly and engagingly, avoiding wordiness and pomposity for the sake of attempting to impress readers. José Antonio Arellano’s essay, Visible Mediation: On the Meaning of Collage Within a Story of Art poses, “Collage, like creativity, is as old as the history of its constitutive materials and as intuitive as the sense of play….[and] is an active process of mediation that insists on placing elements into a relation that is not merely one of postmodern pastiche.” Sandra Hitner’s essay, (in French & Portuguese) ARCHITECTURE DU JARDIN DE BOSCH & ARQUITETURA DO JARDIM DE BOSCH represents a soupçon of her scholarly research on Hieronymus Bosch, who during his lifetime was exceedingly popular and copied. He continues to be revisited for his ambiguous contextual meanings. Sabo Kpade’s essay, Disjunctive Identities: Towards A New Understanding of Luba Art probes, “how artistic identity in Luba arts [of south Congo] has been conceived of and developed across space and time. Its sculptural tradition to high degrees of sophistication… is considered to be ‘top rank of art in Africa’.” Natali Rajchinovska-Pavleska’s essay,The Worn-out Cloaks of The Revolution: Towards the project Shadows (2025) by Stojan Pavleskiencourages reflection of, “the plasticized and militarized imagination of today, to trade wars, and to the unstoppable accumulation of capital….All this leads to real, not imaginary, theoretical, or cognitive dehumanization.” Victoria Abaroa’s exhibition review, WHEN THE SOUND OF THE SEA STOPPED critiques Gabriela Carmona’s show (5/10/24-4/27/25) at the Museo de la Solidaridad Salvador Allende, which presented allegorical bodies in 2-D and 3-D configurations, thematically “emerging as silent witnesses resisting the legacy of past disappearances….deprived of the peace that the remains might evoke.”