Main Gallery

SORT Random (lowest)Random (highest)Date (lowest)Date (highest)Views (lowest)Views (highest)Favorited (lowest)Favorited (highest)Social shares (lowest)Social shares (highest)Post Date (lowest)Post Date (highest)

During the economic crisis of 2008, bankers in Spain took advantage of the economically disadvantaged, and the artwork La Fiera en Sevilla, or the Wild Animal in Sevilla in English, brings attention to this money-centric act from the bankers. La Fiera refers to the bankers at the time that used predatory methods in their actions to forcibly evict poor people from their houses.

An artist in Brazil, who remains anonymous, placed red blindfolds on the eyes of statues across the city of Rio de Janeiro to protest the country's political crisis.

Born as a side project Las hijas de Violencia approaches the subject of street harassment and gender based violence through performance art, punk and video that is addressing socially legitimized male violence. "As actresses and as women we feel directly affected and consider it urgent to address the real cause of the problem: its ideological nature.

Many citizens of the United States have spoken out against Trump by organizing, protesting, voting, writing and making art. Most of us have hoped for the impeachment of this inept, cruel, lying and corrupt con man who is a danger to our country and to the world. We the people of the United States will continue to speak out and fight against Trump.

Singaporean artist Lee Wen’s series Journey of a Yellow Man (1992–2012), one of his most famous and long-standing performances, was not simply a personal affront, it was a political affront. At the intersection of Asian art history, critical race theory, and migration and diasporic studies, one is never far (enough away) from the chromatic framing of race and ethnicity: yellow race, yellow peril, yellow face, the forever foreigner.

Marian Anderson, the legendary African American contralto, sang at the Lincoln Memorial on Easter Sunday in 1939 after she was refused a performance at Washington’s Constitution Hall by the Daughters of the American Revolution because she was black. Over 75,000 people attended the performance, which was broadcast live on the radio and arranged in part by First Lady Eleanor Roosevelt with the support of her husband, President Franklin D.

In her curatorial project Making Way, Ruth Simbao brought together works that complicated the idea of globalization’s effect on African nations, especially the idea that the new phase would usher in an almost frictionless movement of labor and capital across borders. Works by artists like Athi-Patra Ruga reflected on questions of how bodies moved through settler colonialist spaces.

Zheng Xi 郑熹, a Ph.D. candidate with a focus on gender studies at Zhejiang University in Hangzhou. Zheng has launched a campaign asking city governments around China to display anti-sexual-harassment logos, complete with a groper’s “salty-pig hand” visual (etymological context here), alongside other commonly displayed public safety logos on places like subway trains and buses.

Independent producer and longtime WWNO collaborator Eve Abrams brings us Unprisoned: Stories From The System. From New Orleans and Louisiana, the world’s incarceration capital, we meet those serving time inside and outside the criminal justice system.