“She’s trying to paint me into a corner with her question mark army. She’s wanting to light my pants on fire. She seems super mad at me.“

The 17th series in the ongoing collaboration between George Quasha’s preverbs and Susan Quasha’s photographic work.

Adam, you were the one with brooding eyes and a Cheshire smile.

Ten poems translated from the Greek by Pria Louka.

Four poems from Émile Verhaeren’s Tentacular Cities (1895) translated from the French by Jacob Siefring.

Seven poems by Francisco Segovia translated by Katherine Silver, with artwork by Carolie Parker.

Excerpt from Ann Quin’s novel Tripticks, introduced by Austin Carder.

Eight poems with drawings from the chapbook Comes a Time.

Poems by Losarc Raal for Tamas Panitz’s Steak Phase

Is interactivity really the same freedom that art is supposed to help us access?

The wind howls against the trailer’s tin walls. 

“You’re not special,” he says. “You’re not the main character.”

Then who is? But he doesn’t read fiction.

“I'll begin with setting up the image…” Greg Gerke reflects on a shot in Carlos Reygadas’s Japón

Barry Schwabsky brings us Alberto Savinio's memories of the poet and painter Max Jacob.

In my solitude / I’m stripped bare, but now / you’re here too, to some degree.

“Ah, but what if we — [gestures at the ‘painting’] what if it — were to invite nonsense…embrace nonsense…produce nonsense…even mean nonsense?”

NFTs are the next stage in cultural phenomena the Caesura founding editors have been following for more than a decade.

An excerpt from Losarc Raal’s quasi-novella No Material, forthcoming from Black Sun Lit in 2023

It is full of work convinced that the world as we know it is doddering towards its end, but gives little consideration to the possibility that it is this old New Museum and old new media art, not the world around it, that has run its course.

NFTs reveal that relational aesthetics and post-internet art have always been the same phenomenon, differing merely in surface technique and taste.

Art is the vanguard of capital.