David Bundy’s book review: Medieval Money, Merchants and Morality by Diane Wolfthal “takes [readers] through the forms of money in Medieval Europe, shows how it was used, and explains the society’s ambivalent attitudes toward it, nearly all of which can still be seen today.” Mayank Dutt Kaushik’s essay: Synthetic Narrative Integration: Reflections and Refractions in Media and Entertainment (M&E) Worlds “discusses the aporetic evolution of media technologies, from 19th-century artisanal innovations to today's extortionate, cutting-edge automated systems…. further [critiquing] the hidden infrastructural demands of allegedly democratized software and tools.”  Damian Smith’s essay: The Dumping of artist Khaled Sabsabi and curator Michael Dagostino as Australia’s Representatives at the 2026 Biennale di Venezia raises serious questions about freedom of expression in Australia advocates “if Australia is to truly foster open dialogue and inclusion then our institutions must surely be freed from the demands of vested interests, or at least summon the wherewithal to negotiate such relationships more robustly and with less fear of sanction.” Juan Carlos Zúñiga’s essay: International Biennials: Time to Review and Reflect interprets “the resilient and unstoppable influence of the biennial exhibition format in the art world…. In the Latin American art scene, biennials represent an event of modernization and internationalization that does not ignore the tension between specific ideological agendas and the political objectives of the host State or cultural environment.” Christian Chambert’s exhibition review (English & Swedish): Francis Alÿs. The Child at play and the realities of life surmises “kids don’t need much equipment to improve their physical abilities and develop their creativity and social competence.... proven throughout the ages everywhere.”  Alÿs’ paintings, videos and sketchbook depict children (often exploited) playing with what’s available--toxic materials!  Duygu Güles Kökek’s exhibition review: Paul Celan, Anselm Kiefer, Wim Wenders: Everyone Who Falls Has Wings analyzes Kiefer’s works through a documentarian, a poet and an exhibition, thus conveying Kiefer’s maxim, "the soul of the painting lies within the material itself."