KEVIN BRYAN reviews new releases by The Outlaws, Mark Radcliffe & David Boardman, Clarence White
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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] 
BOB NEWLAND reviews a book that will take many back to the final years of apartheid in South Africa
GAVIN O’TOOLE examines the fatal relationship between environmental crimes and politics in Brazil and the inspiration provided by Indigenous people
MARIA DUARTE and LEO BOIX review Little Trouble Girls, Big Boys, The Roses, and Caught Stealing
MARY CONWAY admires a study of environmental idealism that aspires to Chekhov but is arrested in a deluge of middle-class opinion
ANGUS REID questions whether a human scriptwriter is behind the multiple plagiarisms of Disney’s much-lauded and vacuous extension of the Alien franchise
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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