Forgeries is included in this exhibition investigating the question of the united states in 2025. At a time when federal celebrations are doubling down on the imperial, racist, elitist, heteronormative, and patriarchal as… Continue reading
Call a Wrecking Ball to Make a Window was included in this fantastic exhibition at the Getty Center Research Institute Galleries, curated by Pietro Rigolo. $3 Bill celebrates the contributions of LGBTQ+ artists… Continue reading
Call a Wrecking Ball to Make a Window was included in this exhibition at the Bainbridge Island Museum of Art (BIMA) that coincides with the Dog Ear Festival. From BIMA: The power of… Continue reading
Co-edited with historian Paula Austin, this special issue of Design and Culture brings together scholars, organizers, designers, and artists working across history and design to imagine what it looks like to design against… Continue reading
I’ve been working for what feels like a long long time on an artist book called Ground Rules that is about cancer, and choices around death and dying, as imagined in relationship to… Continue reading
What I Don’t Say [A Tear-Off Book for Saying It] is included in this exhibition at Rutgers’ Douglass Library Mary H. Dana Women Artists Series TRANS TECHNOLOGY: CIRCUITS OF CULTURE, SELF, BELONGING January… Continue reading
In fall 2010, I taught a course called Urban Services in which my students worked with students in the education program of a large non-profit organization in New York City that offers a range of… Continue reading
Introduction: Beyond the Special Guest—Teaching “Trans” Now By Shana Agid and Erica Rand The theme of this issue of Radical Teacher, “Beyond the Special Guest: Teaching ‘Trans’ Now,” originated in a conversation between… Continue reading
Introduction By Shana Agid, Michael Bennett, and Kate Drabinski Angela Davis begins her influential book Are Prisons Obsolete? by pointing out how naturalized the system of mass incarceration has become in the United States.… Continue reading
Capital Series (2007) is a series of screenprints derived from photographs of commercial buildings in urban and suburban areas whose signs highlight relationships of desire to cash, class, and wanting.