A.S. Dhillon’s recent decision to paint again has to be seen not as his abandonment of creating public installations but as a step towards extending his social practice by specifically addressing the specialized audience of contemporary art.  This transition from the outside to the gallery, the specialized space of art, is a process that began […]

According to Ervand Abrahamian, a scholar of Iran’s contemporary history, George Rudé’s observation that “perhaps no historical phenomenon has been so thoroughly neglected by historians as the crowd” is particularly true about the Middle East.1  While European journalists have invariably portrayed oriental crowds as “xenophobic mobs” hurling insults and bricks at Western embassies, local conservatives […]