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from "Laugh, O Revolution: Humor in the Egyptian Uprising" by Anna Louie Sussman, in 2011. Revolutions can be messy. They can be tragic. As long as the Internet is working, they can be tweeted. And, as Egyptians demonstrated during their 18 days of protest, they can also be funny.

A changing cast of theater workers — actors, seamstresses, lighting technicians and prop masters — are protesting the privatization of a stage once graced by some of Europe’s greatest thespians, from Sarah Bernhardt to Vittorio Gassman.

(Honoring our Origins, Ourselves and our Dreams) is an all-womyn and womyn-identified crew from the northeast San Fernando Valley dedicated to creating awareness through public art.

In 1998 Hacker-Poet-Artist Yucef Mehri breached the security of CANTV at the time the largest telecommunications company in Venezuela. He was able to access the personal data kept by the company which contained the names, addresses, phone numbers, working places, and even checking accounts, credit cards, and expiration dates of it's customers.

By Hayley Tsukayama, Published: January 18, 2012 Web users woke up this morning to find that, as promised, several prominent Web sites had gone dark or put up messages asking visitors to contact their members of Congress to vote against two online piracy measures: the Stop Online Piracy Act and the Protect IP Act.

The incident began when two clowns, Hannah Morgan and Louis Jargow, scaled the steel barricades protecting the landmark. The clowns began spanking and climbing the beast, traditional ways of coaxing a bull into anger in preparation for a Castilian corrida, or bullfight.

WITH HER 2003 PROJECT UNTITLED, Andrea Fraser throws us an archetype of sexual and cultural identity. More than in her other performances, Fraser here works without the protection of a research-based script, a surrogate actor, or the remove that often characterizes analytical thinking. The central action in Untitled has Fraser and a male client of her US gallery meet for a session of sex and video recording in a New York hotel room.

"Rainer’s early choreography celebrated, among other things, ordinary movements: the expressive capacities of kneeling, of shaking your head, of rolling on the floor. And when she went through periods of sickness, those movements became an even more important part of her repertoire. In her 1966 Hand Movie, an 8mm film she shot on her sickbed, we see a dance she choreographed for just her hand, while her body rests.

Exposing Disordered Eating is a photographic exhibition intended to show us the images we rarely see. In American media, representations of disordered eating are conditioned and controlled; all we are shown is the crumpled, emaciated anorexic figure with sunken eyes and cheekbones. This image is both unrelatable and othered, and it fails to capture the reality of modern eating disorders: they are omnipresent, multifaceted, and sneaky.