Jean Bundy’s review: A Soupçon of Women Artists: Professional and Intuitive, investigates aspects of being female, highlighting AICA-presidential candidate Matilde Roman’s book: Swimming with Laure Prouvost.  Rui G. Cepeda’s review: Contemporary Exhibition-Making and Management: Curating IMT Gallery as a Hybrid Space, critiques an art space which blends aesthetic attributes from non-profit galleries, academia, and the corporate world.  Sandra Hitner’s review: ECO – LÓGICAS LATINA, A CRITICAL REVIEW, presented in both English and Portuguese, underscores the importance of Climate Change art. AICA-presidential candidate Małgorzata Kazmiercźak’s critique: There is no water in the desert - performance art at the SACO Biennial, explains how humans specify a place to visualize social injustices. AICA-presidential candidate Elisa Rusca’s critique: What permeates the invisible warp and weft, describes how Tate St Ives and International Red Cross and Red Crescent Museum differently presented Petrit Halilaj’s art, derived from drawings rendered in an Albanian refugee camp. Kate Vescera’s essay: The Golden Age of German Passenger Shipping takes readers on a metaphorical cruise of Nineteenth Century German ocean liners.