In their review of Keller Easterling’s Subtraction, Luisa Lorenza Corna and Alan Adam Smart interrogate an architectural theory that makes an economic virtue of contracted social reproduction

In his assessment of the latest film in Melanie Gilligan’s trilogy on crisis, capital and community Jasper Bernes emphasises the necessity and difficulty of distinguishing between the community of capital – its expansive entrainment of the senses – and the unrealised project of a resistant human community

If art is a commodity, is it just a commodity, subject to the law of value? Or does art's distinctive process of production render it capable of a relative, and critical, independence? Daniel Spaulding and Nicole Demby explore the relations of art, value and their imbricated, but not necessarily identical, forms of ‘freedom’, urging us to think beyond the binary of art as either liberatory and subversive or uncritical captive of capital

In John Barker’s Futures, an expertly crafted crime novel exploring cocaine trafficking in Thatcherite London, Tom Jennings finds a parable of neoliberalism with considerably broader resonance

Helen Macfarlane was a Chartist revolutionary, the translator who put the ‘hobgoblin’ in the Communist Manifesto, and an advocate of ‘the total demolition of the present system of things’ on Christian grounds. Peter Linebaugh welcomes the 150 years-overdue publication of her writings, invoking the Blood and Fire of that earlier ‘ruthless critic of everything that exists’, John Bunyan

In 2014 W.A.G.E. (Working Artists and the Greater Economy) launched a campaign of certification which ‘publicly recognizes non-profit arts organizations [...] paying artist fees that meet a minimum payment standard’. Josefine Wikström assesses the campaign’s aims within art’s complex relation to the capitalist division of labour