In his second round-up, EWAN CAMERON picks excellent solo shows that deal with Scottishness, Englishness and race as highlights
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I create, therefore I am
GAVIN O’TOOLE explores the resistance expressed by central American artists to their own erasure by US imperialist policies
FORGOTTEN GENOCIDE: Regina Jose Galindo, “¿Quien puede borrar las huellas?”, (“Who can erase the footprints?”)
[Lutz Teutloff Museum/flickr/CC] 
Fiery words from the Bard in Blackpool and Edinburgh, and Evidence Based Punk Rock from The Protest Family
MATTHEW HAWKINS is mesmerised by a performance that dissolves the line between audience and performer
MATTHEW SHARPE recommends the essays of a Renaissance politician that instruct and unnerve after 400 years
GAVIN O’TOOLE welcomes the reissue of a seminal work of revolutionary theory that have genuine relevance in the current context
RON JACOBS rides shotgun with a member of Black Bloc on the wave of anti-capitalist protests of the 1990s and early 2000s
Visual Disobedience: Art and Decoloniality in Central America
Kency Cornejo, Duke University Press, £22.99
IT is a breathtaking revelation to learn that, to date, no US academic book has offered a history of Central American art, analysed it in relation to the legacies of its own brutal colonialism in the isthmus, or examined the resulting decolonial resistance this has spawned.
Such a powerful observation by Kency Cornejo in itself represents a protest against the sub-region’s invisibility in colonial aesthetics, and the author goes on to offer potent examples of the creative backlash this has given rise to.
It is not a niche observation confined to the rarefied air of university art history departments but one with profound significance for postcolonial studies that extends far beyond the field in real time.
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