Dull sex in a messy Square: traumatic boredom in Lou Ye's Summer Palace | Mila Zuo (29.2) Women & PerformanceJuly 30, 2019
Beyond 90°: The Angularities of Black/Queer/Women/Lean | Kemi Adeyemi (29.1) Women & PerformanceFebruary 26, 2019
Introduction: Performing Refusal/Refusing to Perform | Lilian G. Mengesha and Lakshmi Padmanabhan (29.1) Women & PerformanceFebruary 26, 2019
Inscrutably, actually: hospitality, parasitism, and the silent work of Yoko Ono and Laurel Nakadate | Vivian L. Huang (28.3) Women & PerformanceNovember 8, 2018
Un/Sent Stream: a review of Torkwase Dyson’s recent exhibition, Dear Henry; Davidson Gallery; March 15–May 5, 2018 | Sarah Jane Cervenak (28.3) Women & PerformanceOctober 12, 2018
Becoming NULL: Queer relations in the excluded middle | Jacob Gaboury (28.2) Women & PerformanceJuly 19, 2018
Choreographies of collapse | Histories of use: Yve Laris Cohen's "Painting Space 122" | Olivia Michiko Gagnon (28.2) Women & PerformanceJuly 19, 2018
Introduction to Queer Circuits: Critical Performance and Digital Praxis | Benjamin Haber and Daniel Sander (28.2) Women & PerformanceJuly 18, 2018
Surface-becoming: Lyle Ashton Harris and brown jouissance | Amber Jamilla Musser (28.1) Women & PerformanceFebruary 26, 2018
The Great Woman Singer: gender and voice in Puerto Rican music | Summer Kim Lee (27.3) Women & PerformanceNovember 6, 2017
Retracing the contours of her figure … slippages begin to appear: Reckoning the limits of the archive with Senam Okudzeto’s Large Reclining Nude | Olivia K. Young (27.1) Women & PerformanceMarch 21, 2017
