Franthiesco Ballerini’s On the brink of censorship surveys Brazilian film with themes of social injustice, which attracted international recognition, and local censorship. Jean Paul Brandt’s Afterimages in Photography: the ‘auratical’ value of technology in the case of Sergio Larraín and Sebastiâo Sagado discusses Twentieth Century photojournalism. Christian Chambert’s A tsunami of dreams and magnificent gestures in Venice scrutinizes the 2022 Venice Biennale (The Milk of Dreams) highlighting: artificial intelligence, climate change, colonialism, and Ukraine’s war (English and Swedish text). AICA presidential candidate Liam Kelly’s The Poetics and Politics of Shane Cullen’s ‘The Agreement’ examines this sculptural work, embossed with the complete text of Northern Ireland’s ‘Good Friday Agreement’. Clare Mary Puyfoulhoux’s What Are We Talking About, When We Talk About Criticism in the 21st Century-Art Criticism and Censorship? analyzes writing which embraces the socio-political, as illustrated in an Anne Imhof exhibition, 2021. Juan Carlos Flores Zuñiga’s Prolegomenon to Artistic and Cultural Endogamy explores how artists and art opportunities rise from: prosperous families, nepotism, and friendships, ignoring qualified others.