manchildren [she-corpses]

manchildren [she-corpses], 2014. Readymade photobook, mixed media, digital video.

The project “manchildren” began with a search for a copy of David Hamilton’s “Dream of a Young Girl”. These books are very unstable in regards to their legal status. If I purchase a Hamilton in Germany and stay in Germany, it’s a legal purchase. The same goes within the USA. But If I purchase a Hamilton monograph in Europe and have it shipped to the United States, the transatlantic ride shifts its legal status from ‘high art’ to child pornography.

Now, destabilized again, by initially running it through the “iconoclasm filter” and finally the “nude dude filter.”


I’m “Bad”…? (news 2014)


                     Anita Bryant, pied.


Failing to Levitate.  EFA, NY, NY. June 1-July 1, 2014

My Strangest Stranger. UAG/UCSD, San Diego, California.  March 13th-May 9 2014

The Artists’ Commission. Grey Matter Gallery. Dallas, TX. November 2013


“Sister Apple, Sister Pig”. E-Book.  E-Flux Journal. March, 2014

The Making of Americans: A Marathon Reading of Gertrude Stein’s Novel. Brooklyn, NY. January 25

The Flash Made Flesh” with AB Huber, Invalid Format: An Anthology of Triple Canopy, Volume 3.

(NewYork, New York: Triple Canopy. January 2014)

“Odor is Speech,” The Second World Congress of Free Artists. In Three Acts by Camel Collective.

(Arhus, Denmark: Arhus Kusthal. October 2013)

“Checklist [apocalyptic ecology]”Ugly Duckling Press broadsheet, Brooklyn, NY. Forthcoming 2014


Featured Artist. Extra Earth Analog, Pastelegram. Print Issue #5. March 2014

“Begin Civil Dawn,”  Monsters and Dust.  February 2014

Andres Laracuente. Interview: “Anal Prophecy,” Semigloss Magazine. Issue #4. December 2013

“Anhoek School,” Educational Outliers. October 31, 2014

I’m Bad…

Extra Earth Analog

extra earth documentation

Extra Earth Analog, 2014. Printed matter.

Informed by the unfinished radical project of post-colonial critical theory, “The Extra Earth Analog” is an A to Z compendium of critical reflections regarding the strangest stranger: the extraterrestrial and/or the expatriate. It aims to make unstable the social energies that work to contain and normalize the alien and expatriate, in both their galactic and terrestrial modes.

Alien, used here, holds both senses of the word; alien as an extraterrestrial and alien as a traveler from another nation. Not so weightless or so harmless, the alien-ed figure finds itself slotted into categories—such as disaffected backpacker or benign businessman—produced to subdue its threat to social order. Perhaps our intervention will productively confuse these categories. The freewheeling tourist or adventuresome artist is not too stoned to be a colonist.

Let us endeavor to contaminate the safe and self-righteous ways in which we compartmentalize the alien. Together, let’s wantonly move towards and provoke these unstable categories. (The use of the word wantonly is deliberate — the etymology points towards an engagement with rebellious, sexual and violent play, but more importantly, an embrace of bad training.)


Study for Mural: Informal Crossing Inventory

strangest stranger ceiling

Study For Mural: Informal Crossing Inventory, 2014. 28′ x 32′ photo-mural suspended from gallery ceiling, mirrors, altered subsonic recordings of seismic activity.

The content of the photomural is determined by a singular narrative communicated by an informal crosser encountered at Casa del Migrante in Tijuana. In an interview, he provided specific instructions on what elements the mural should contain. Study for Mural exists in the “offsite” space of gallery, while the actual mural will be painted from the study in the “onsite” space located within a Sonoran desert migration corridor, approximating the location of the border crossing narrative.


Oil rigs
Suns (rising, setting)

The photo-mural’s expanse reaches as far back as the second ceiling beam, where natural daylight at midday ends. Both front doors of the gallery are left open during gallery hours to allow in daylight. Like caves, daylight, not electricity, lights this installation. Handheld mirrors are available for visitors; holding the mirror in their hand, they look down in order to view the mural above them.

 strangest stranger mirror

Beef Haus: Screening the Mirroring Line (a Matinee): November 2nd

Students of the Mirroring Line shall screen six short works at the Expo Park space, Beef Haus (833 Exposition Avenue) on November 2nd from 2:00 pm to 4:00 pm.

These videos shall be conceived of and reworked in the context of a workshop led by visiting artist Senalka McDonald.

Students: Please post your transcription of the critique and your own analysis and response to that critique here.

Students: This event is yours. Possess it! This means you need to generate a poster and other press materials (online, etc) and distribute them vigorously.

Love Letter (from Dallas): your texts

Toufic pens a love letter.

But he is aware that it heads not only to the hands of the locus of his affection, but to a greater public.

Toufic pens a love letter.

But it is not about the body he wishes to be in relation to alone- it is about the city that could surround and embody him and them.

The site of Los Angeles is compared, touched, tested against and with emotion and thought.

You will pen a love letter to someone.

Maybe a past love that has already burnt up.

Maybe a present and perfect/imperfect love. Maybe an unrequited love. Maybe a

Future Lover.

You will write a love letter.

But it is not about the body of the person you wish/wished to be in relation to.

You will return and return and return to the site of Dallas and how you touch and test that site with emotion and criticality…how images and texts crash against the city and also lead you away from it. To enter Dallas. To exit Dallas. To make work from its carcass. To breathe into its carcass. To fill the lion skin of it with honey (biblical reference).

Your letter will be a long letter. The love letter is almost always guilty of that.

Your love letter shall be turned into Jay Sullivan, as hardcopy in his dept mail box on Friday.

Your love letter will be the last writing assignment assigned by me to you this term.

The End.



Forthcoming and in the Dust…(tardy updates)…performances, publications, and workshop


“Colors/Teal,” Cabinet Magazine. Summer 2013

5 Minute Factory Merch Table.  Performance. Sculpture Center’s Block Party, Sculpture Center, Long Island City, NY  Forthcoming August 2013

5 Minute  Factory Merch Table.  Performance. CTSQ, Long Island City, NY May 2013

City Nude. Performance. Interdisciplinary Arts and the City: A Forum on Site and Social Spaces.   Southern Methodist University, Dallas, TX April 2013

Regine Basha. Interview: Mary Walling Blackburn. Resident Host. Spring 2013

Read-A-Thons: the emotional fall-out

Dear Mirroring Line Collective:

After successfully organizing the two read-a-thons, based on Badlands publications and held in The Holy Office, you now have two iterations of the same form to compare.

Please post the texts you have written that compare the emotional experience of each text made oral.  Recall: two paragraphs for each and/or lists of emotions induced by reader  and in listener, by text, by location.


My thanks, MWB

Saddam + George Forever: A marathon reading of On Democracy by Saddam Hussein at the Holy Office

Listeners…join us. The collective body of the Mirroring Line will present…

Saddam + George Forever: A marathon reading of On Democracy by Saddam Hussein at the Holy Office on Wednesday, October 9th, NOON to MIDNIGHT.

Invited guests and members of the Mirroring Line will read all of Saddam Hussein’s On Democracy to the bitter end or midnight (whichever arrives first).

On Democracy is one of the books featured at The Holy Office’s Badlands Press installation (curated by Hong-An Truong).


HOLY OFFICE: Phaedrus Pron: A Read-A-Thon

Listeners…join us.

The collective body of the Mirroring Line will present PHAEDRUS PRON READ-A-THON at the Holy Office on Wednesday, September 25th. NOON to MIDNIGHT. Invited guests and members of the Mirroring Line will read all 425 pages of Paul Chan’s Phaedrus Pron to the bitter end or midnight (whichever arrives first).

Phaedrus Pron by Paul Chan is one of the books featured at The Holy Office’s Badlands Press installation (curated by Hong-An Truong). See below for details regarding its content

“Published as a limited paperback and an unlimited e-book, Paul Chan’sPhaedrus Pron recasts Plato’s legendary dialogue on art, erotic love, and madness as unyielding sexual prose that stretches the limits of intelligibility and sense.

“Written” by typesetting the original text with computer fonts created by Chan that transform the conventional alphabet into an array of erotic idiolects,Phaedrus Pron unfolds as a relentless exchange of erotic verse between a philosopher and a young man in search of rhyme and reason.

Works of art in themselves, the fonts extend the possibilities of writing by rewriting what is written with a simple change of font in your computer: from Times new roman to…Phaedrus Pron.”

WEDNESDAY: the drawing room as per usual

Dear Gang,

We will meet as per usual at the drawing room. I know for some of you that The Modern was impossible to reach within the given time frame. Those surplus hours can be posited towards a weekend visit I hope.

Tomorrow: MWB

To merge the lines made by bodies and sound:

Class 3: Sonic Lines: Sources

Ellen Fullman invented, the long string instrument. Fullman studied sculpture at the Kansas City Art Institute. Tuned in just intonation, the long string instrument is played by walking along the length of incredibly long strings and rubbing them with rosined hands. This produces longitudinal vibrations, and her music explores the nodes of vibration. Her early pieces were notated with choreography.

Conlon Nancarrow (1912 – 1997) composed approximately fifty Studies for player piano after he gave up on the human musician as the best conductor for sound. In self-exile in Mexico City, Nancarrow hand carved the notes (rectangles) into the paper roll.

Homework Instructions: 9/11: These men draw. Attend an artist lecture, Tuesday or Wednesday night

Select one:

WEDNESDAY 7 pm SMU: Alejandro Cesarco



Homework Instructions: 9/6: The Eternal Frame


Mark Makers:

Your assignment crudely and succinctly explained: two observational drawings of and at a historic site in Dallas. Please read below for conceptual framing of the assignment. However, always keep in mind with this exercise:

  • choose your materials carefully- that which makes the mark and that which the mark is made on.
  • if the mark is made outside and cannot be transported, know that the documentation is also the work (see Brancusi’s documentation of his sculptures for a sense of careful observation of the objects we produce but must photograph)
  • Recall that we have been experimenting with the body as mark maker, not the hand alone. Consider using other limbs besides the hand to draw. It is not required but it is suggested.

Your weekend assignment straddles the traditional but also the errant and experimental line. Recall that we  screened The Eternal Frame in class last week. You all marked out the location of your own investment in the problematics of this Ant Farm video. Remember what you pointed out (the translucent lines of the bullets’ trajectories, the fraudulent lines of communication between viewers and makers…and so on). How does that inform your own decision as to where to draw and what to draw and how to draw it? Remember the X drawn/painted on the asphalt at the Kennedy assassination site as an example of a drawing at a historical site and of a historical incident. Also, recall the Santiago Sierra “Sumision/ Submission” piece in Juarez/El Paso as another example of marking and drawing at a socially loaded site.

In Class: Day 1: Translation of the Line: sources

action4-KubotaVTRE-green2 day_janine-antoni-still-from-loving-care-19963 354.592 rl__a_line_made_by_walking_1967 Yves-Klein-Nude-Performance mendieta_008

Client List as Artist Text

Griseldis Real’s “Black Book”, a client list that reveals the structure and texture of the economic relationship of cultural producer and consumer, is the template for an artist text.

Produce an artist text that lists and lays bare your own relation to client and object.

Post here if it does not compromise you.

Otherwise email.



Greetings go-getter.

Greetings fast talker.

Greetings aggressive entrepreneur.

Greetings swindler.

Greetings hustler.

Greetings grifter.

Greetings con artist.

Greetings scam artist.

Greetings rip off artist.

Greetings artist.

Greetings streetwalker.

Greetings whore.


Advising Faculty: Professor Mary Walling Blackburn

Graduate Assistant: Willie Binnie

Graduate Researchers:

Tim Best

Willie Binnie

Isabella Bur

Kate Jarboe

Dylan Jones

Anansi Knowbody

Emily Lacour

Janna Langholtz

Kiernan Lofland

Olivia Martin

Melissa Tran

Meeting: Wednesday 9:00 AM

Screenings: Sunday 7:00 PM


Seminar activities are carried out at Meadows School or in the field. Researchers are committed to an engagement of one meeting per week, one screening per week and the intensive week seminar in Taos. Artists in this seminar will actively engage in discussion, read and process our shared texts, and produce their own writing on a weekly basis.

Together, through an analytical lens, we will generate a theoretical and material inventory of marginal spaces and critical gestures that begin with the hustler (his body, her illicit economies, their informal exchanges.)

Your workplace is at the Meadows School and your research (inventories, images, texts) will be visible to our larger arts community. Be prepared to post your research each week (offline AND online.)

Shed your notion of yourself as “student;” you cannot simply fulfill the assignments and operate within our meetings as if a hierarchical relation between student and teacher is a given. As artist/thinker/researcher, each of you must be responsible for your engagement and scald us with speech and conviction, with rigorous scrutiny of your own practice. As hustler, you must work it.


Jacob, Luis. Commerce by Artists.

Jones, William E., Halsted Plays Himself

Noack, Ruth. Sanja Ivekovic: Triangle

Real, Griselidis. Days and Nights of an Anarchist Whore

Rosati, L. & Staniszewski, Mary Ann. Alternative Histories: New York Spaces


SOME AUXILIARY TEXTS (online at semiotexte and triplecanopy)

Rolnik,Suley. The geopolitics of pimping

Sloterdijk, Peter. God is the Ultimate Banker Interview

Tiqqun. Preliminary Materials for the Theory of a Young Girl

Toufic, Jalal.Undyiing Love or Love Dies


Blow Job– Warhol, Andy  35 min.

LA Plays Itself. Fred Halsted. 58 min. (1972)

It’s Cool, I’m Good. Stanya Kahn 35 min. (2010)

The Amazing Bow-Wow. Linda Benglis

Gravity & Grace. Chris Kraus (1996)

Mill Hunk Herald Sweet Sal. Tony Buba

Selections from Gordon Matta-Clark. Program six [videorecording] / Gordon Matta-Clark ; Electronic Arts Intermix. 50 min., 30 sec (1974-1976)

Song of Love. Jean Genet. (1950)

Querelle. Rainer Werner Fassbinder. (1982)

(aka A Daughter of Destiny)
 Henrik Galeen, 108 min. (1928)


Griselidis Real (1975/76) clip from documentary

Mario banana I and II Andy Warhol (1964)

Lightning on Braddock .Tony Buba

Contras City Djibril Diop Mambéty (1968)

Desperado. Barbara de Genevieve

Kustom kar kommandos , Kenneth Anger (1965)


Sister Gertrude Morgan’s New Orleans street discourse (aural and visual)

Bellocq’s lost work of the New Orleans Opium Dens

El Paso’s underground opium tunnels

White Rock Lake as past/present site of informal city sex work

Fernand Deligny’s rural follow of autistic boys and men

Barbara De Genevieve’s fraught ‘collaboration with’ Chicago homeless men

Helio Oiticica’s trip to NYC

Adrian Piper’s business cards for the street

Bill Traylor’s Atlanta street studio

Susan Meisales’ Carnival Strippers

Andrea Frazier’s series of works on the artist as hustler

Ulay’s  Berlin art swap/ Marina Abromovic’s swap

Franco Mondini Ruiz’s Botanica in San Antonio

Gordon Matta-Clark’s eviction of  queer s&m cruisers from warehouse site

Kehinde Wiley’s male models culled from Harlem streets

Weegee’s process as hustle

Santiago Sierra’s repeated purchases of others’ bodies

Ann Liv Young’s merchandise

Claus Oldenberg’s store

Rick Lowe’s Project Rowhouse in Houston and Vickery Gardens in Dallas

JFK Assasination gift shop (the 6th floor museum)

Bowery Boys and 5 Points child prostitutes

Collectives/Cliques/ Nests of Assholes: Andy Warhol’s Factory and Beyond

Art Stars, Art World Hustlers: artist as entrepreneur/ as shameless networker


The mid-term graduate review requires an artist text. Each week, you shall produce a text that significantly diverges from those that preceded it. These texts (manifestos, lists, glossolalia) are to be considered creative acts that actively engage your process and the data you are processing at this moment.


After Taos, each graduate student will present the work they developed in conjunction with Jennifer Monson’s workshop in Dallas.

Before Taos, our seminar will hold a “Teach-In” in the Doolin Gallery, where each graduate student will prepare their own action/gesture/performance that represents the research they have undertaken in regards to the Hustler. This event/moment/action shall be constructed to repeatedly share with different visitors.

The final project: produce a podcast (15-30 minutes in length) that embodies your seminar research. It will be posted and broadcast via the Internet. Proposals for the broadcast will be due on December 1st.


My aim is to foster a willingness in my students to take cognitive and aesthetic risks. To experiment with materials and test concepts at this stage in their education will advance their practice by urging them to expand selected mediums, pair unlikely elements, and to traverse across disciplines.

I opt for a hands-on examination of marginal pedagogies—teaching strategies that stress horizontal learning methodologies: The student is not an empty vessel filled with the teacher’s knowledge. Rather, they are free agents responsible for applying a certain rigor and specificity to their investigation, interpretation and school-based collaboration with the teacher. In keeping with this sentiment, I curate syllabi that ricochet between my own thoroughly researched fields of investigation, and materials that confound my expertise. Consequently, students and teacher aid one another in navigating theories, strange and beautiful or, sometimes, repulsive but persuasive.

It is central to my position that I foster a classroom dynamic where students will be comfortable with dwelling on the threshold of multiple disciplines. They will triangulate politics, aesthetics, and theory and they will not hoard the fruits of this trifecta. School papers must become pamphlets, self-published magazines, and broadsheets and they must circulate through the public; student-crafted tests must transform themselves into a self-actualized memorandum for action; reports will, town-crier style, be released as pod casts, soapbox speeches, and letter-born manifestos.  I am always conscious that the work of the classroom should not stay in the classroom. Where will the student’s learning land? How can it be expressed within the community and the world at large? These theories have manifested in my founding of Anhoek School, a nomadic and experimental artist-run school.

Finally, the teacher is not a product and the student is not a customer; both need to take scholarly risks and determine their own culpability, in regards to what has been learned, earned, and gained. It is a relation of equals.

The Mirroring Line: Interdisciplinary Mark Making



Interdisciplinary mark making  (be it movement, sculpture, sound, drawing, or text) will enable us to research the Mirroring Line; in other words, we shall locate and engage a series of borders (legal, social, physical, psychic, sonic, environmental, theoretical, and imaginary) that striate Dallas, its environs and the multiple communities that intersect this specific site.  We will do this by expanding our notion of what makes a line  (i.e. graphite, blood, router, string…) and what takes a line (i.e. paper, street, water, humans). Our investigation will be animated by a range of texts that include but are not limited to poet Bhanu Kapil’s lyric evocation of bodies on the threshold and her eviscerating dissection of post-colonial spaces, French philosopher Deleuze’s conjuring of the schoolyard’s line of exit versus the convicts line of escape, and experimental musician Sun Ra’s interplanetary exodus, which leaves its own tracers.

We begin in consultation with the ones most subject to and aware of the line: the river as a material line that separates a poorer Oak Cliff from a wealthier Dallas, the line dancer takes the line at the site of the largest lesbian line dancing bar in Texas (Sue Ellen’s), the border patrol exerts an invisible line as it executes internal sweeps, the local hunters trailing animal tracks across the outskirts of Dallas trace and extinguish a non-human line. In our own work, we can expand these points of demarcation in collaboration with local participants.





Our position will be informed by a survey of interdisciplinary mark making within contemporary art, music, and dance. An overview of expanded drawing practice will include but is not limited to works such as Doris Salcedo’s Shibboleth (2007), Regina Jose Galindo’s ¿Quien Peude Borrar Las Huellas? A Walk from the Court Of Constitutionality to the National Palace of Guatemala (2003) Richard Long’s A Line Made by Walking(1967), Teresa Margoles’ suite of Juarez projects, Frances Alys’ Green Line (2005), Mierles Ukeles Laderman’s collaboration with tugboat captains (1984) and Marie Lorenz’s Tide and Current Taxi (2005-). We will view documentation of William Pope L.’s Crawl and Santiago Sierra’s SUBMISSION (his incomplete work on the border). Finally, because we will consider Fred Sandback’s preoccupation with the line as something habitable (1967-2003), we will ask ourselves: how do we inhabit the line?


Sonic materials will touch upon the repetitive line produced by the Dallas’s many cover bands, Ellen Fullman’s structures and their resonating lines, Kabir Carter’s sculptures with sound, Eliane Radigue’s current intervention in the propagation of a score, Sun Ra’s interplanetary exodus, Delia Derbyshire’s Dreams, Christina Kubisch’s “soundwalks”,  narcocorridos (smuggling songs), Alan Lamb’s telegraph wire composition, Regine Basha’s Tuning Baghdad, and local bird calls.


Our investigation of dance and line will include the outdoor choreographies of Anna Halprin and Jennifer Monson (which includes transnational/ multi-border migratory routes), Le Reunion as a local  , Lucy Parsons and 19th century Anarchist marching routes, the naked marches of Canada’s early 20th century Doukhobors, Busby Berkeley’s chorus lines, line dancing, cakewalk, pueblo dance traditions, and Ralph Lemon’s choreographic negotiation of police line and lynching rope; landscape and intergenerational memory.


Bhanu Kapil’s decolonial critique of madness and space

Fernand Deligny’s problematic engagement with mapping and autism

Wim Cuyvers’ systematic research on dead end streets

The National Park Service’s Trampling Studies

Guy Hocquenghem’s critical position on cruising

Josef Vogel on Hesitation

Maggie Nelson and Michael Taussig on Twilight

Sergio Gonzalez Rodriguez on the disappearance of maquiladoras on La Frontera Juarez

Deleuze’s conjuring of the schoolyard’s line of exit versus the convicts’ line of escape

Elaine Scarry on crisis and anti-border (nuclear catastrophe and the bomb shelter)

Monique Wittig and Claire Light’s distopic prose sketch the frontiers for gender and orientation.

Fred Sandback on the line.


Please note that some field trips will require rigorous hiking.

We begin with a workshop with local animal tracker who will not only begin to attenuate our gaze to the lines produced by animals that often seem invisible but begin to emerge with concentration and practice. We will then apply this to subsequent fieldtrips. The palimpsest, human and non-human, will mark our stay. Dance, a form that is always disappearing and reappearing, will also directly organize several of our field trips to several area dance halls and dance studios. We will observe and perhaps engage in informal and formal dancing. Drawing from radical cartography, we will begin to produce night and day maps/scores of the Dallas that mark our relation to the site but attempt to break with the geo-political history of map making. These maps /scores may be sonic, movement based, or visual and can be conducted in collaboration with the denizens of Dallas, solo, or in collaboration with one another. Their purpose is to serve as an introductory exercise. However they may be deepened and expanded for the final project at the students’ request.


Project proposals shall be turned in at mid term. Proposals will include projects that areboth private (campus) and public (within the city) iterations. The final work will be exhibited in either both locations or one (as determined in consultation with Dallas community members, course participants, and SMU administration) in the final two weeks of the course.






Please note that we will trace the sources of our material (be it graphite foraged in northern Mexico or shipped from Sri Lanka, charcoal collected from bonfires or imported from the Congo, recycled paper, birch bark, or standard 9 x 11 printing paper, the life cycle of the ink cartridges (raw material its sourced from, their production and disposal) the utilities that sustain the dancing body


Together we will determine a criteria for your output based on which medium you have chosen to produce work within (performance, sound, text, sculpture).

A detailed grading formula takes labor, risk, critical content, aesthetic inquiry, site-specificity, critical investigation, and public dialogue into account.  This shall require independent production and the work will reflect the amount of time devoted to it. Classroom participation includes engaging in others work during critiques, annotating and discussing the readings, and a commitment to the exercises conducted in class.

The Holy Office: Badlands Press curated by Hong-An Truong

We hear this often now: carefully curated.  Consider these good reads badly curated, compelled by perversity, provocation, and an unrequited love of poetry – or the political erupting through aesthetics.  It is not difficult to do.  As a rule, Badlands Unlimited stains itself with these marks of difference quite universally. However, the play of historical disruption (relationships between now and then are elliptical and dissonant), and deployment of humor (not irony) so dry it dissipates, is what dictates desire. What’s left, then, is a selection of a selection:  neither thorough nor exact, neither loose nor sloppy.

-Hong-An Truong


– Selected Anthumous Works Vol. 1 by Alphonse Allais

– Waiting for Godot in New Orleans: A Field Guide, edited by Paul Chan

– HELL_TREE by Petra Cortright

- Marcel Duchamp: The Afternoon Interviews by Calvin Tomkins


-On Democracy by Saddam Hussein

-Poems by Yvonne Rainer

-Phaedrus Pron by Paul Chan

Sister Apple, Sister Pig

pigFront and back cover for Sister Apple, Sister Pig. Photo-illustrated children’s e-book, published in e-flux in 2014.

In the orchard, by the pond, in the garden, in the pig pen…Lee searches for the ghost-sister, the child that preceded. Where is she? Does she exist? Is she in the form of an apple? Is she in the form of a pig?

In an attempt to take up the reins of a lost genre––the photo-illustrated, socially motivated children’s literature of the 1970s–an impossible object emerges: a pro-choice children’s ebook.

Published alongside speculative annotations on the history of the photo-illustrated, socially motivated children’s book. Later followed by “Child As Material,” a panel discussion and readings of a selection of radical children’s literature at e-flux.