Jean Bundy’s essay, ‘O Canada’, a Vaclav Vytlacil painting, and a Dog named Uvedale,highlights her 2.5 week road trip from Anchorage, Alaska to Rancho Mirage, California, emphasizing the importance of art, the landscape of Western Canada and respecting this important US neighbor.  Zama Spellman’s essay, Exploring how black artists utilise metaphor to visually articulate Black experiences through the work of Dennis Delgado becomes, “anexample of how Black and brown visual artists expose, represent and validate their unsettled narratives. The systems designed to oppress during colonial times and during the apartheid regimes still largely affect the lives of black, brown, and coloured people in the present.” Victoria Abaroa’s exhibition review, Bolts and Linkages: A Queer Composition in the Face of Modern Masculinity’s Assembly,Hipótesis de un cuerpo by Andrés Marti, at Museo La Neomudéjar (Madrid), curated by Néstor Prieto (thru August 30, 2026) unpacks, “‘Are you a man or a mannequin?’…. [as] naked male bodies perform a delicate choreography assisted by mechanical devices…. [And] in its refusal of fixed origins, this generative process opens up a queer methodology.” Rui Goncalves Cepeda’s exhibition review, “In Minor Keys: The Politics of Encounter at the 61st International Art Exhibition: Koyo Kouoh, Curatorial Authority and the Reorganisation of Perception (thru 11/22/26), assesses, “many of the recognisable conceptual and historical signposts through which contemporary art is conventionally made legible are absent. Movements, schools, centres, names and genealogies do not readily provide the familiar coordinates.” Yee Chia’s exhibition review, A Shadow Sublime: Hiroshi Sugimoto's "Form is Emptiness," at the “Singapore Art Museum's …retrospective of Japanese maestro Hiroshi Sugimoto (thru 10/11/26) concludes, “He seeks to integrate the ‘fading’ ancient values of the East, into vessels of "contemporary art… in the context of Western civilisation." Gabriele Romeo’s exhibition review, “The Aesthetics of Saturation: Touristic Simulacra and Heterotopias of Resistance at the 61st Venice Biennale (thru 11/22/26) becomes a dialectical elucidating, “Biennale risks [become] a spectacular appendix to the global tourist economy….it seems to have severed that ethical bond between art, public conscience, and political responsibility which had founded its international legitimacy…. The contemporary Biennale seems, in fact, to tragically confirm the… [Marshall McLuhan] …axiom….‘the medium is the message.’”