Chon A. Noriega considers the work of Raphael Montañez Ortiz, the founder of El Museo del Barrio in Harlem, whose film practice highlighted the exclusion of minority and working class artists from the canon.
Maria Muhle considers the political implications of Alice Creischer, Andreas Siekmann and Christian von Borries's use of performed - rather than filmed or photographed - re-enactment as a means of critiquing history.
