How would artistic practice contribute to political change in post–World War II Japan? How could artists negotiate the imbalanced global dynamics of the art world and also maintain a sense of aesthetic and political authenticity? While the contemporary art world has recently come to embrace some of Japan’s most daring postwar artists, the interplay of art and politics remains poorly understood in the Americas and Europe. The Stakes of Exposure fills this gap and explores art, visual culture, and politics in postwar Japan from the 1950s to the 1970s, paying special attention to how anxiety and confusion surrounding Japan’s new democracy manifested in representations of gender and nationhood in modern art. Through such pivotal postwar episodes as the Minamata Disaster, the Lucky Dragon Incident, the budding antinuclear movement, and the ANPO protests of the 1960s, The Stakes of Exposure examines a wide range of issues addressed by the period’s prominent artists, including Tanaka Atsuko and Shiraga Kazuo (key members of the Gutai Art Association), Katsura Yuki, and Nakamura Hiroshi. Through a close study of their paintings, illustrations, and assemblage and performance art, Namiko Kunimoto reveals that, despite dissimilar aesthetic approaches and divergent political interests, Japanese postwar artists were invested in the entangled issues of gender and nationhood that were redefining Japan and its role in the world. Offering many full-color illustrations of previously unpublished art and photographs, as well as period manga, The Stakes of Exposure shows how contention over Japan’s new democracy was expressed, disavowed, and reimagined through representations of the gendered body.

In the industrialized nations of the global North, well-funded agencies like the CDC attend to citizens' health, monitoring and treating for toxic poisons like lead. How do the under-resourced nations of the global South meet such challenges? In Edges of Exposure, Noémi Tousignant traces the work of toxicologists in Senegal as they have sought to warn of and remediate the presence of heavy metals and other poisons in their communities. Situating recent toxic scandals within histories of science and regulation in postcolonial Africa, Tousignant shows how decolonization and structural adjustment have impacted toxicity and toxicology research. Ultimately, as Tousignant reveals, scientists' capacity to conduct research—as determined by material working conditions, levels of public investment, and their creative but not always successful efforts to make visible the harm of toxic poisons—affects their ability to keep equipment, labs, projects, and careers going.

The notion of «exposure» underlies much modern thinking about identity, representation, ethics, desire and sexuality. This provocative notion is explored in a collection of essays selected from, and inspired by, the proceedings of a conference held in the Department of French at the University of Cambridge in 2002. The authors engage with exposure as both object and mode of representation in a range of cultural media: literature, critical theory, visual art and film. They analyse a variety of works from the medieval, early-modern, and modern periods, examining not only canonical texts such as Montaigne's Essais but also lesser-studied works such as the psychoanalytic theory of Didier Anzieu, the photomontage self-portraits of Claude Cahun, and the novel La Nouvelle Pornographie by Marie Nimier. This volume thus both illustrates and, more importantly, interrogates the richness of the term «exposure», in a way that is stimulating for students and researchers alike.

Man-made textile fibers are frequently encountered as trace evidence in criminal investigations. This study examined the effects of burial in soil on the biodeterioration of synthetic textile fibers such as cellulose acetate, nylon, polyesters and acrylics. Cellulose acetate fibers began to show signs of decomposition within two months after burial in common garden topsoil and were completely degraded within four to nine months. It was found that severely decomposed cellulose acetate fibers could be identified by pyrolysis-gas liquid chromatography even when other methods such as polarized light microscopy and dispersion staining failed. The solubility behavior of the cellulose acetate fibers also was altered. The other types of fibers showed no detectable alteration at the end of the twelve-month study. REFERENCES American Association of Textile Chemists and Colorists (1971). AATCC Technical Manual, AATCC, Triangle Park, NC. Cook, R., and Paterson, M.D. (1978). New techniques for the identifi- tion of microscopic samples of textile fibers by infrared spectroscopy. Forensic Sci. Int., 12, 237-243. DeForest, P.R., Geansslen, R.E., and Lee, H.C. (1983). Forensic Science: An Introduction to Criminalistics, McGraw-Hill Book Company, NY. Federal Bureau of Investigation (1978). Solubility schemes by generic class. Federal Bureau of Investigation, Washington, DC. Fong, W. (1982). Rapid microscopic identification of synthetic fibers in a single liquid mount. ~ Forensic Sci., 27, 257-263.