Jean Bundy’s book review: The Artist’s Palette by Alexandra Loske presents 50 artists, each with a specific painting--from Caterina van Hemessen’s self-portrait (1548) to Kerry James Marshall’s ‘Untitled’ (2009)-- along with their palettes, which are either photographed, pictured in their paintings, or featured as unique spaces. Lara Kamhi’s essay: Echoes in the Void: The Paradox of Immersive Art and the Erosion of Reality probes, “As we forge ahead into this brave new world, it is imperative that we not only embrace the innovative potentials of immersive art but also vigilantly guard against the encroachment of artificiality on our sense of reality.” Aleksandra Lisek’s essay: Interchangeable Fragments: Speculative Dialogue with Artificial Intelligence by Christopher Kulendran Thomas presents Thomas’ project “ to analyze and reconstruct the dominant narrative of the victorious side of the [Sri Lankan] conflict in an attempt to recover the history of his people's revolutionary struggle for Sri Lankan independence….[reflecting] on how to reconstruct forgotten history and how to tell the point of view of the defeated side of the conflict, when usually the narrative belongs to the winners.” Julia (Yuliya) Sysalova’s essay: Expanding the Language of Art: Curating Niki Zahari’s Performances, “challenges and redefines the concept of art itself, [transforming traditional] exhibitions from static presentations into dynamic, participatory experiences, engaging artists, curators, and audiences in a continuous dialogue where meaning is not just displayed but enacted.” Cayla June Haarhoff’s exhibition review: Does the way we write art affect the way we engage with it? unpacks artist Mire Lee’s show, Open Wound  [Tate Modern, 10/9/24-3/16/25]  further contemplated by Haarhoff’s enigmatic essay title.  Natali Rajchinovska-Pavleska’s exhibition review: Banksy’s Graffiti—A Museum Exhibit? explores her “chance encounter with a poster in the center of Krakow [which] leads to a Banksy exhibition….This Disney-esque Banksyland contains replicas of Banksy's originals, realized by anonymous artists just like him,” or is it another Banksy spoof?