Both a book and a sculptural object, Absence is a memorial to the twin towers of the World Trade Center. Yoon, an architect and designer who is currently an Assistant Professor of Architecture at the Massachusetts Institute of Technology, chose not to produce a traditional design proposal for the World Trade Center Memorial Competition. Instead she created a non-architectural, non site-specific space of remembrance: a portable personal memorial in the form of book.At almost two pounds, Absence has a considerable physical presence, but it is in every way the ghost of a presence, and it is this ghostliness that gives it its particular emotional weight. A solid white block of thick stock cardboard pages, the books only "text" consists of one pinhole and two identical squares die-cut into each of its one-hundred-and-twenty pages one for each story of the towers including the antenna mast. These removed elements lead the reader floor by floor through the missing buildings towards the final page where the footprint of the entire site of the World Trade Center is die-cut into a delicate lattice of absent structures.

An illustrated examination of Mark Leckey's celebrated video montage. In 1999, the British artist Mark Leckey released his video-montage Fiorucci made me Hardcore, a dreamscape vignette that communes with the rapturous promises of youth. Putting archive material to use, Leckey entwined footage of underground dance and street culture in Britain with audio grifted and recorded in the artist's studio. In this illustrated study, the first comprehensive examination of the work, Mitch Speed argues that by interweaving personal and collective memory, this work gives voice to the complexities of class and cultural transformation during Britain's Thatcherite era. Oscillating between local and expansive resonances, Fiorucci made me Hardcore takes form as a homage, love letter, and work of criticism that eschews analysis, instead incanting the deeper implications of its subject.

With a new lens to artist Jessica Vaughn's multidisciplinary practice, Depreciating Assets investigates labor, diversity politics, and the material environment of the American workplace. The project examines how affirmative action and other office equity measures are intersected by corporate infrastructure and, specifically, the physical layout of office space.Across four interwoven sections and related appendices, Vaughn assembles her photographs and critical writings alongside xeroxed images, diversity training video stills, and manipulated open source documents of the US Government. The project considers and distills the symptoms of late 20th and 21st century work culture produced by open office plans and modular architecture's promise of malleability, compliance, and universality - provisions that bid for increased efficiency and productivity at the expense of visibility for Black workers and workers of color. The project also includes an interview between Vaughn and curator Magdalyn Asimakis, in which the two draw connections between the operations of the corporate environment to the structural failings of arts and cultural institutions to practice equitable inclusion of artists of color, or to develop a language and praxis in support of diverse programming that extends beyond compliance, optics, and concerns of the market. In its design, Depreciating Assets replicates the style, materials, and colors outlined by the US Government Publishing Office-standards set to ensure design efficiency and the economical production of their internal documents. The book draws from a familiar copyshop color palette and uses varied paper stocks in accordance with Paper Standard specifications. In doing so the project takes on and examines the homogeneity imposed by so-called 'corporate efficiency measures,' and the fundamental tension between diversity initiatives and one-size-fits-all approaches to office resources.The publication concludes with an afterword by the author contextualizing the project's themes within the contemporary reality of global pandemic, economic precarity, and protests against racist state violence, noting how in the absence of an adequate governmental response to structural problems, workplaces implement ad-hoc solutions (such as plexi-dividers) that still leave workers vulnerable and at risk - most acutely, Black workers who are often underinsured.