Pip Day, Pablo Lafuente and Maria Muhle discuss what the 2009 Istanbul Biennial means for the limitations of Modernist display and the potential of politicised art practice.
Looking at the Photorealist's fetish for surface and gleam, Dieter Roelstraete sees the reflection of the movement's oversized investment in craft, made at a time when the economy was moving towards service and immateriality.
