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Tai Shani discusses the need for change around artists’ pay and the “ethical gap between artists and institutions.”

Larry Achiampong reflects on the role of art as “a place to conversate, to agree, to disagree, to hope, to dream, to imagine, to debate.”

Dorothy Cross remembers the freedom and energy of the 1990s, travelling, meeting other artists and making ambitious site-specific work.

Yinka Shonibare outlines the development of his work in the 1990s, including his “big jump from painting to costume”.

Richard Billingham reflects on the turning points in his photography and experimental films, which he began making during the 1990s.

2020 graduate Miya Browne considers the role of art and the artist in the 21st century and outlines their vision for the future.

Keith Piper, a founding member of the Blk Art Group and now a member of a-n’s Board, outlines the evolution of his practice during the 1980s.

Lis Rhodes reflects on her involvement in protests and strikes during the 1980s, and her co-founding of the feminist film and video network Circles.

Chila Kumari Singh Burman discusses the development of her work during the “highly experimental, politically charged time” of the 1980s.

Sunil Gupta discusses making work about the experiences of gay men in his hometown of Delhi and setting up Autograph in the 1980s.

Sunil Gupta discusses the commercial photography library and agency set up by the recently founded Autograph: the Association of Black Photographers.

Mona Hatoum discusses the ways in which her own work “became more confrontational” in the 1980s through live performance and direct street action.

Anne Bean recalls co-founding Bow Gamelan Ensemble and “resonant living and working situations” in 1980s Mexico and Poland.