Parasol unit presents a ‘purpose built’ collaborative exhibition by artists Ângela Ferreira and Narelle Jubelin, architect Marcos Corrales, and writer and curator Andrew Renton. While each of these four participants have worked with each other in varying combinations for over fifteen years - building a complex conversation, a shared critical discourse, a richly layered series of historical and cultural references - Front of House is the first meeting place where they have been able to manifest their ideas collectively.

The Calouste Gulbenkian Cultural Centre in Paris presents the work of the Portuguese photographer João Paulo Serafim. Consisting of fifty photographs in various formats and two videos, the exhibition forms part of a project previously unseen in its entirety, to which the artist has given the name of the Improbable Museum of the Image and Contemporary Art (MIIAC).

The Center for Integrated Media at the California Institute of the Arts announces the release of its new online sound/art collaboration called ‘The Lament Project.’ 'The Lament Project' is part of the 2008 release of Viralnet.net, the Center's online journal and project space.

Site announces the opening of Martha Rosler Library in Liverpool, the European City of Culture 2008. Comprised of approximately 7,700 titles from the artist's personal collection, the Library was opened to the public by Anton Vidokle in November 2005 as a storefront reading room at e-flux, on Ludlow street in New York City. It has since traveled to Frankfurter Kunstverein, MuHKA, Antwerp, unitednationsplaza, Berlin and Institut national d’histoire de l’art, Paris. The library will remain on view in Liverpool through 14 June and will travel to Stills in Edinburgh in the Fall.

Phantom Sightings: Art after the Chicano Movement is the largest exhibition of cutting-edge Chicano art ever presented at LACMA. Chicano art, traditionally described as work created by Americans of Mexican descent, was established as a politically and culturally inspired movement during the counterculture revolutions of the late 1960s and early 1970s.

Through video, performance, sculpture and installation, Dave McKenzie explores notions of public space and cultural exchange in relation to the private self. Often informed by humble actions and everyday circumstances, his modest proposals examine the world around us, revealing a larger set of social and political truths that are evidenced in the everyday.

The Walker Art Center presents the exhibition Trisha Brown: So That the Audience Does Not Know Whether I Have Stopped Dancing, the centerpiece of a spectrum of programs honoring the 40-year career of this contemporary dance icon at a moment of increasing interest in the broad sweep of her work and its influence.