Image credits
(Images numbered according to their appearance in the texts)

Landing page, Nusja Jonë: courtesy Yll Çitaku and Nita Deda

Editorial: 1: photo: Adam Szymczyk; 2: courtesy Bibliothèque nationale de France, Paris

O’Toole: 1, 5–7, 9, 11: © The Estate of Ana Mendieta Collection, L. L. C., courtesy Galerie Lelong & Co, New York; 2, 3: courtesy May Stevens, Ryan Lee Gallery, New York; 4, 8: courtesy Archiwum Akt Nowych, Warszawa; 10: © Max Beckmann/VG Bild-Kunst, Bonn, 2017, photo: The Museum of Modern Art, New York/Scala, Florence

Miller: all photographs courtesy John Miller’s Taonga Māori Archive, made possible through the valuable assistance of the John Miller Charitable Trust and the Te Kaiwhakāhua website project:

Davids: all images courtesy Yael Davids

Böttner: all images courtesy private collection, photos: Mathias Völzke

Taylor: photo: Diana Taylor

Conversation Peleg: 1, 2, 5, 6: courtesy Ben Russell; 3, 4, 9, 10: courtesy Véréna Paravel and Lucien Castaing-Taylor; 7, 8, 11, 12: courtesy Rosalind Nashashibi

Bowles/Suter: 1, 3–6: photos: Vivian Suter; 2: photo: Greg Haji Joannides

Ray: 1, 3, 4: State Archives of Florida, Florida Memory, Tallahassee; 2: courtesy Chris Jordan; 5: photo: Josh Morgan

Conversation Koskina/Szymczyk/Ammirati: 1: photo: Roman März; 2: © Hans Haacke/VG Bild-Kunst, Bonn 2017, photo: Mathias Völzke; 3: photo: Yiannis Hadjiaslanis; 4, 5: photos: Mathias Völzke; 6: photo: Nils Klinger

Fletcher: 1, 5–8: courtesy Bibliothèque nationale de France, Paris; 2: courtesy National Archives of Tunisia, Tunis; 3: © bpk, Kunstbibliothek— Staatliche Museen zu Berlin; 4: courtesy Benaki Museum—Ghika Gallery, Athens; 9, 10: photo: Osman, courtesy Fonds Beit el Bennani, Tunis

Baldwin/Davis: 1: photo: picture alliance/AP; 2: photo: John van Hasselt/ Corbis via Getty Images

Shibli: all photographs courtesy Ahlam Shibli

Lācis/Benjamin: 1, 6: scans from the book Artistic Arrangement of Revolutionary Festivals: Materials and Documents (1917–1932) (Moscow: Iskusstvo, 1984); 2, 4: courtesy RMM, The Literature and Music Museum, Riga, Latvia; 3: unknown photographer; 5: Walter Benjamin Archives, Berlin

Kishore: all works courtesy Seagull Foundation for the Arts, Kolkata


Text credits

“There Aren’t Enough Magazines …” from Antonin Artaud: Selected Writings translated from the French by Helen Weaver. Translation copyright © 1976 by Farrar, Straus and Giroux. Reprinted by permission of Farrar, Straus and Giroux. Originally appeared in French in Œuvres complètes I, copyright © 1976 by Éditions Gallimard. Reprinted by permission of Georges Borchardt, Inc., for Éditions Gallimard.

“An Open Letter to My Sister, Angela Y. Davis,” by James Baldwin, and “Political Prisoners, Prisons and Black Liberation,” by Angela Y. Davis from If They Come in the Morning … Voices of Resistance, edited by Angela Davis, Verso Books, 2016. Reprinted by permission of the publisher.

“Program for a Proletarian Children’s Theater,” from Walter Benjamin: Selected Writings, Vol. 2, 1927–1934, translated by Rodney Livingstone and others, edited by Michael W. Jennings, Howard Eiland, and Gary Smith, Cambridge, Mass.: The Belknap Press of Harvard University Press, Copyright © 1999 by the President and Fellows of Harvard College.

“A Guatemalan Idyll” from My Sister's Hand in Mine: The Collected Works of Jane Bowles by Jane Bowles. Copyright © 1943, 1946, 1948, 1949, 1954, 1966 by Jane Bowles, renewed © 1976 by Paul Bowles. Reprinted by permission of Farrar, Straus and Giroux. / Used by permission of The Wylie Agency (UK) Limited.

Excerpts from Voyage of the Sable Venus: And Other Poems by Robin Coste Lewis, compilation copyright © 2015 by Robin Coste Lewis. Used by permission of Alfred A. Knopf, an imprint of the Knopf Doubleday Publishing Group, a division of Penguin Random House LLC. All rights reserved. / Used by permission of The Wylie Agency (UK) Limited.

Excerpts from I’m OK, I’m Pig by Kim Hyesoon, translated by Don Mee Choi, Bloodaxe Books, 2014. Reprinted by permission of the publisher.