On the cover: Sebastián (Enrique Carbajal), El Caballito, 1992.

• Julieta Aranda, Brian Kuan Wood, Anton Vidokle Editorial

• Daniel Birnbaum and Anders Olsson An Interview with Jacques Derrida on the Limits of Digestion

  I have become increasingly interested in the philosophical border between man and animal, which also becomes an examination of the traditional boundary between culture and nature. I have chosen to tackle this issue via the thinkers who seem to have questioned the self-sufficiency of humanism most deeply: Heidegger and Lévinas.

• Liam Gillick Maybe it would be better if we worked in groups of three? Part 1 of 2: The Discursive

  The discursive framework differentiates certain collective models, not the other way around. It is a mode of generating ideas and placing structures into the culture that emerges from collaborative, collective, or negotiated positions rather than as varied forms of “pure” expression or super-subjectivity. However, the discursive also provides a space where all these approaches can be included. The rise of content-heavy discussions—seminars, symposia, and discussion programs—alongside every serious art project over the last twenty years is very significant here.

• Boris Groys Politics of Installation

  Yet, on the other hand, open political discussion is time and again interrupted by the private, sovereign decisions of political actors and manipulated by private interests (which then serve to privatize the political). The artist and the curator embody, in a very conspicuous manner, these two different kinds of freedom: the sovereign, unconditional, publicly irresponsible freedom of art-making, and the institutional, conditional, publicly responsible freedom of curatorship. Further, this means that the artistic installation—in which the act of art production coincides with the act of its presentation—becomes the perfect experimental terrain for revealing and exploring the ambiguity that lies at the core of the Western notion of freedom.

• Marina Gržinić Drawing a Border (Reartikulacija, Part 3 of 3)

  In an atmosphere of such cheerful celebration of a world without borders, it becomes necessary to advance another thesis or logic—we need borders more than ever. How is this possible? The answer is very simple: to establish a border means to present, to incorporate, to take a clear political stance, to ask for a political act, to draw a line of division that can rearticulate this new world that seems to be without borders—in which the only thing that seems impossible is impossibility as such.

• Hassan Khan RANT

  The actions of the ruthlessly ambitious demand a price that not all are willing to pay. However, in such a space choices are limited. Performed gestures of bonhomie and camaraderie go hand-in-hand with the well-placed whisper, the sidelong glance, and the half smile. The emotional mess of raised voices, boasts, half-truthful claims around the post-opening dinner table is only one more thing to get through. But more importantly, what kind of aesthetic choices do these conditions lead to?

• Silvia Kolbowski “When Even Good News Worsens a Panic”

  Last week, banking expert Peter Wallison of the American Enterprise Institute walked the sophisticated audience of the Exchequer Club through how these swaps work. He offered the example of bank A making a $10 million loan to company B. Bank A can eliminate most of the risk of B from its books by going to C, a dealer in these swaps, who agrees to pay the $10 million to A if B defaults, in exchange for A paying an annual premium to C for the protection. A will want collateral from C to be sure it’s good for the debt. As a dealer, C will hedge its exposure, entering into a swap with D, which also hedges through E.