A black and white photo. Two adult women and one young women, all of which wear scarves around their heads, white shirts, and skirts sit on a porch, two of them holding potatoes. Three young boys stand around them, wearing tunics with a rope around them and baggy pants. Everyone looks at the camera. The women's mouths are turned slightly up in a smile. The boys do not smile.

Tuberous Entanglements and the Potato Empire

Tatsiana Shchurko follows potatoes through personal memories and uneven global histories. From the Andes to Belarus, she traces how the potato mediates imperial power while fueling peasant resistance and sustaining everyday life.

A close up of rocks, sticks, and plastic objects.

Contaminated Art on the Plastic Archipelago

On the metropolitan archipelago of Tiohtià:ke/Mooniyang, where planstic intermingles with organic matter, mixed media artist Alex Côté Hallé creates art that intertwines the urban, the fluvial, and the queer.

Two bearded vultures (from below) fly against a bright blue sky.

Wild, Queer Kinship

Andrea Natan Feltrin always felt they attuned to the rhythms of the natural world differently than others. Queer ecology provided a language for these intuitions.

close up of a chain link fence covered in vines and snow

Winter’s Muted Garden

What does a garden become in winter? Émilie Gervais explores winter’s sensory and narrative landscape through a community garden’s fence.

Inside a large church with stained glass windows and intricate architecture. Easter lilies line the steps up to the altar.

The Colonial Roots of Catholic Plants

Catholic churches in the U.S. are decorated with a shared, recurring cycle of select plants. Rebecca Laurent and Emily Burke dig into the historical and political roots of poinsettias and Easter lilies and what their floral glory tells us about nature, religion, and colonialism.