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Chintan Upadhyay and Bose Krishnamachari have been voicing their concerns about Indian curatorial practice through their art projects for the last few years. Considering their arguments, JohnyML says that Indian curatorial practice is going through a phase of crisis; a phase of identity crisis.

John Plowman unpicks a new book on collaborative practice by Nuno Sacramento and Claudia Zeiske.

Critical attitudes on how art practice is dividing or uniting local, international and global practices has been alluded to since the beginnings of modernism; in 2008 these issues remain at the forefront of response to post-modern visual culture.

Steve Dutton reflects on the exhausted Biennial model and gives his account of how curators are finding ways to overcome this syndrome.

Gillian Nicol introduces this month’s a-n Collection and considers the implication of the ACE Turning point recommendations on RFOs.

This month’s a-n Collection: Trade-off explores the markets for art in the UK drawing on intelligence gathered at the recent series of NAN Roadshows¹.

Cultural diversity is a term that has pervaded our language and thinking across all sectors of life and institutions, and its latest manifestation of citizenship is perhaps the most coercive strategy being employed by government.

Artists comment on the Arts Council’s Turning Point Strategy.

At a recent symposium on the British Art Show¹ the discussion took a somewhat unexpected turn.

The trains of thought that permeate through the writing we commission each month provide indicators for the future. Highlighting what is on the edge of becoming significant within artists’ practices, is a characteristic of a-n’s work, providing a very different […]

When invited in March to give evidence in person at the Culture, Media and Sport Committee’s Inquiry into the Market for Art, we used the opportunity to emphasise key areas for attention that would benefit many artists, taking into account […]

I was interested to read Dominic Thomas’ article ‘Critical Contexts’ (a-n February) and wholeheartedly agree with his view that “many [professional development] schemes seem unable or unwilling to tackle the issue of the actual product of an artist’s labours”. ETA […]