“Accurate Misreadings” examines how interpretation shapes meaning at NOME as part of Berlin Art Week. Artists including James Bridle, Paolo Cirio, Goldin+Senneby, and Kameelah Janan Rasheed explore bureaucratic violence and power structures through annotated prints, defaced archival documents, and appropriated patents. Dread Scott’s #whileblack (2018), for example, catalogues racial profiling incidents through stark screen-printed text documenting Black experience in America.

In “Welcome,” Gregor Schneider presents living space formerly occupied by a Syrian family at Haus Esters (DE). The family lived on the ground floor of the Mies van der Rohe-designed home during a closure period. Now vacant—the furniture and the sound of children’s voices are gone—only traces remain. Expressing solidarity with migrant families, Schneider “confronts the museum with a reality that unfolds outside its usual boundaries,” writes curator Sylvia Martin.

British artist Danielle Brathwaite-Shirley serves existential angst and radical vulnerability at Berlin’s NOME gallery. “UNCENSORED” summons poignant figures across paintings, drawings, and a videogame, offering unflinching commentary on the grind of everyday existence as a Black trans woman. Her handwritten annotations on walls and canvases describe self-doubt, fear of violence, and the fight for survival. Perhaps the starkest, one laments, “I can’t even protect myself. Can you?”

Assembling works exploring police brutality, immigration, surveillance, and other pressing social issues, NOME’s stable of artists collectively ask the world “Are We There Yet?” Presenting works from the last two decades by Camae Ayewa, Aram Bartholl, Danielle Brathwaite-Shirley, James Bridle, Paolo Cirio, Kite, Ahmet Öğüt, and others, the show “interrogates systems of control, power, and resistance” in America, Chile, the EU, the Philippines, and beyond.

Produced by a global collective of architects, designers, and scholars, the Feminist Spatial Practices web platform launches at e-flux in Brooklyn. Part data visualization and part activist genealogy, its interface organizes scores of feminist projects chronologically and by colour-coded themes. Similar to the Cyberfeminism Index (2020), the resource provides a rich point of entry into myriad, often overlooked, radical practices that challenge the status quo around questions of gender and equity.

Curated by Dallas Fellini, “Indiscernible thresholds, escaped veillances” opens at the Justina M. Barnicke Gallery in Toronto. Featured “invisible, illegible, and opaque” alternatives to trans hypervisibility include WE ARE HERE BECAUSE OF THOSE THAT ARE NOT (2020-22, image), Danielle Brathwaite-Shirley’s playable trans archive, and a video derived from QT.bot (2020-), Lucas LaRochelle’s LGBTQ+ large language model. Joshua Schwebel, Chelsea Thompto, and Lan ‘Florence’ Yee also present works.