{"id":6590,"date":"2024-04-16T13:52:40","date_gmt":"2024-04-16T17:52:40","guid":{"rendered":"https:\/\/www.bu.edu\/sequitur\/?page_id=6590"},"modified":"2025-01-24T11:34:48","modified_gmt":"2025-01-24T16:34:48","slug":"volume-10-issue-2-telling-secrets","status":"publish","type":"page","link":"https:\/\/www.bu.edu\/sequitur\/volume-10-issue-2-telling-secrets\/","title":{"rendered":"volume 10, issue 2: telling secrets"},"content":{"rendered":"<p><span style=\"color: #000000;\"><a href=\"https:\/\/www.bu.edu\/sequitur\/2024\/04\/16\/editors-introduction-10-2\/\" style=\"color: #000000;\"><strong>editor\u2019s introduction<\/strong><\/a><\/span><\/p>\n<p><span style=\"color: #000000;\">Toni Armstrong<\/span><\/p>\n<p><span style=\"color: #000000;\"><strong>feature essays<\/strong><\/span><\/p>\n<p><span style=\"color: #000000;\"><a href=\"https:\/\/www.bu.edu\/sequitur\/2024\/04\/16\/chicanaox-spiritual-memories-layering-in-the-digital-print-work-of-amalia-mesa-bains\/\" style=\"color: #000000;\">Chicana\/o\/x Spiritual Memories: Layering in the Digital Print Work of Amalia Mesa-Bains<\/a><\/span><br \/>\n<span style=\"color: #000000;\">Gilda Posada<\/span><\/p>\n<p><a href=\"https:\/\/www.bu.edu\/sequitur\/2024\/04\/16\/dangers-of-response-i-modi-and-its-censorship\/\"><span style=\"color: #000000;\">Dangers of Response: <em>I modi<\/em> and its Censorship<\/span><\/a><br \/>\n<span style=\"color: #000000;\">Iakoiehwahtha Patton<\/span><\/p>\n<p><span style=\"color: #000000;\"><strong>\u00a0<\/strong><strong>exhibition reviews<\/strong><\/span><\/p>\n<p><span style=\"color: #000000;\"><a href=\"https:\/\/www.bu.edu\/sequitur\/2024\/04\/16\/jessica-campbell-heterodoxy\/\" style=\"color: #000000;\"><em>Jessica Campbell: Heterodoxy <\/em><\/a><\/span><br \/>\n<span style=\"color: #000000;\">Corey Loftus<\/span><\/p>\n<p><span style=\"color: #000000;\"><a href=\"https:\/\/www.bu.edu\/sequitur\/2024\/04\/16\/partisans-of-the-nude-an-arab-art-genre-in-an-era-of-contest-1920-1960\/\" style=\"color: #000000;\"><em>Partisans of the Nude: An Arab Art Genre in an Era of Contest, 1920-1960<\/em><\/a><\/span><br \/>\n<span style=\"color: #000000;\">Miray Eroglu<\/span><\/p>\n<p><span style=\"color: #000000;\"><strong>book reviews<\/strong><\/span><\/p>\n<p><span style=\"color: #000000;\"><a href=\"https:\/\/www.bu.edu\/sequitur\/2024\/04\/16\/dragging-away-queer-abstraction-in-contemporary-art\/\" style=\"color: #000000;\"><em>Dragging Away: Queer Abstraction in Contemporary Art<\/em><\/a><\/span><br \/>\n<span style=\"color: #000000;\">Shawn Simmons<\/span><\/p>\n<p><span style=\"color: #000000;\"><strong>research spotlights<\/strong><\/span><\/p>\n<p><span style=\"color: #000000;\"><a href=\"https:\/\/www.bu.edu\/sequitur\/2024\/04\/16\/the-provenance-reliability-index\/\" style=\"color: #000000;\">The Provenance Reliability Index<\/a><\/span><br \/>\n<span style=\"color: #000000;\">Liz Neill<\/span><\/p>\n<p><span style=\"color: #000000;\"><a href=\"https:\/\/www.bu.edu\/sequitur\/2024\/04\/16\/the-secrets-we-keep\/\" style=\"color: #000000;\"><em>The Secrets We Keep<\/em><\/a><\/span><br \/>\n<span style=\"color: #000000;\">Danielle Wirsansky<\/span><\/p>\n<p><span style=\"color: #000000;\"><strong>back matter<\/strong><\/span><\/p>\n<p><span style=\"color: #3366ff;\"><a href=\"https:\/\/www.bu.edu\/sequitur\/2024\/04\/16\/notes-about-contributors-10-2\/\" style=\"color: #3366ff;\"><span style=\"color: #000000;\">notes about contributors<\/span> <\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>editor\u2019s introduction Toni Armstrong feature essays Chicana\/o\/x Spiritual Memories: Layering in the Digital Print Work of Amalia Mesa-Bains Gilda Posada Dangers of Response: I modi and its Censorship Iakoiehwahtha Patton \u00a0exhibition reviews Jessica Campbell: Heterodoxy Corey Loftus Partisans of the Nude: An Arab Art Genre in an Era of Contest, 1920-1960 Miray Eroglu book reviews [&hellip;]<\/p>\n","protected":false},"author":21123,"featured_media":0,"parent":0,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/pages\/6590"}],"collection":[{"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/users\/21123"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/comments?post=6590"}],"version-history":[{"count":22,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/pages\/6590\/revisions"}],"predecessor-version":[{"id":6797,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/pages\/6590\/revisions\/6797"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/media?parent=6590"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}