Morgan Falconer asks whether contemporary art is in decline and, if so, why; Tom Denman wonders why there is deafening silence in the art world as the 80th anniversary of Hiroshima and Nagasaki looms.

Morgan Quaintance analyses the absence of discussion of working-class lives in the arts, and the cultural influence of the middle class in how such lives are understood.

Rachel Pronger discusses the work of Vaginal Davis at the Gropius Bau, Peter Suchin covers Barbara Steveni’s work at Modern Art Oxford, Henry Broome looks at the troubled history between art and gentrification and Elizabeth Fullerton reports on the art scene in Tallinn.

Maja and Reuben Fowkes discuss the lessons we may learn from trees, and how artists can be their voice in this Pyrocene age.

Jamie Sutcliffe discusses artists’ tabletop role-playing games. Hosted by Matt Hale.

Erika Balsom on John Smith’s latest film ‘Being John Smith’, Ben Burbridge on rave culture as an unfulfilled promise for a new politics of the left and Dan Kidner reviews the Deep Time festival at Fruitmarket in Edinburgh.

Mark Prince discusses postwar US modernist abstraction as a form of cultural protectionism.

Bob Dickinson discusses artists who connect the sleep crisis to the climate crisis, while Tom Denman reviews the ‘Towards New Worlds’ exhibition at MIMA in Middlesbrough.

Michael Kurtz discusses the work of Delcy Morelos; Lauren Velvick on Roy Claire Potter’s ‘The Wastes’; Sarah E James considers exhibition formats that offer more complex models than those put forward in Claire Bishop’s book ‘Disordered Attention’.

Vaishna Surjid discusses Soumya Sankar Bose’s exhibition ‘Braiding Dusk and Dawn’ at Deflina Foundation in London; Amna Malik reviews Permindar Kaur’s exhibition ‘Nothing is Fixed’ at John Hansard Gallery in Southampton; and Henry Broome reports on public art in relation to homelessness and sanitation.

Mark Prince argues that digitalisation adds another dimension to debates about intention and production in a discussion that covers photography, painting and sculpture and covers artists ranging from Marcel Duchamp and Robert Ryman to Jon Rafman.

Tom Hastings, Sam Keogh and Luisa Lorenzo Corna discuss the attempts to suppress political protest and artists’ voices in the light of the current war in Gaza.

Bob Dickinson surveys the rise of authoritarian rule and charts feminist art practices that resist such forces.

Laura Harris claims that the Levelling Up programme is a sham and Morgan Quaintance argues that Chris Ofili’s ‘Requiem’ for the victims of Grenfell Tower was compromised from the start.

Sarah E James discusses her article on cultural censorship and exclusion of Palestinian and pro-Palestinian voices in the arts and beyond, with the artists Jumana Manna and Larissa Sansour.

Michael Hampton argues that auto-destruction is the default condition of all visual art.

Anna Dezeuze discusses whether it is possible for art to turn the tide on ‘alt-right’ conspiracy theories, and Maria Walsh explores the work of Lebanese artist filmmaker Ali Cherri.

Matthew Bowman goes in search of lost experience in the commercially co-opted field of immersive art and Bob Dickinson argues that citizen artists can intervene to halt the seemingly inexorable process of gentrification.

Sophie J Williamson assesses the turn towards art-food practices, particularly fermentation, and how these can be politicised to counter societal decay, and Bob Dickinson argues that it is time to repair the damage done by rampant individualism, the hallmark of both modernist and neoliberal cultures, which has undermined social cohesion in art and society.

Susan Jones analyses the way funding models continue to exploit artists’ labour and Stephanie Bailey discusses the work of Beijing-based artist Wang Tuo. Presented by Chris McCormack.