Bob Dickinson discusses artists who connect the sleep crisis to the climate crisis, while Tom Denman reviews the ‘Towards New Worlds’ exhibition at MIMA in Middlesbrough.

Michael Kurtz discusses the work of Delcy Morelos; Lauren Velvick on Roy Claire Potter’s ‘The Wastes’; Sarah E James considers exhibition formats that offer more complex models than those put forward in Claire Bishop’s book ‘Disordered Attention’.

Vaishna Surjid discusses Soumya Sankar Bose’s exhibition ‘Braiding Dusk and Dawn’ at Deflina Foundation in London; Amna Malik reviews Permindar Kaur’s exhibition ‘Nothing is Fixed’ at John Hansard Gallery in Southampton; and Henry Broome reports on public art in relation to homelessness and sanitation.

Mark Prince argues that digitalisation adds another dimension to debates about intention and production in a discussion that covers photography, painting and sculpture and covers artists ranging from Marcel Duchamp and Robert Ryman to Jon Rafman.

Tom Hastings, Sam Keogh and Luisa Lorenzo Corna discuss the attempts to suppress political protest and artists’ voices in the light of the current war in Gaza.

Bob Dickinson surveys the rise of authoritarian rule and charts feminist art practices that resist such forces.

Laura Harris claims that the Levelling Up programme is a sham and Morgan Quaintance argues that Chris Ofili’s ‘Requiem’ for the victims of Grenfell Tower was compromised from the start.

Sarah E James discusses her article on cultural censorship and exclusion of Palestinian and pro-Palestinian voices in the arts and beyond, with the artists Jumana Manna and Larissa Sansour.

Michael Hampton argues that auto-destruction is the default condition of all visual art.

Anna Dezeuze discusses whether it is possible for art to turn the tide on ‘alt-right’ conspiracy theories, and Maria Walsh explores the work of Lebanese artist filmmaker Ali Cherri.