We're pleased to announce the publication of our sixteenth issue, They Were Us, which will be unfurled in installments over the next few weeks. It includes a wide range of writing and artist projects, including Erica Baum's piano-player poetry, David Levine and Alix Rule's essay on the tyranny of the art-world press release, Tiqqun's account of how we all become Young-Girlified, and Per-Oskar Leu's reworking of the trials of Bertolt Brecht.

Developed in 1950s Soviet Union, samizdat was both material and system, its networks composed of a committed body of people who published, distributed, and circulated human rights bulletins, literature, art, and poetry. Kristen Alfaro speaks with samizdat historian Ann Komaromi about dissident typescripts, reader-editors, and the spontaneous and rhizomatic distribution of onionskin pamphlets and open journals.

For his current exhibition at Abrons Arts Center, “Every Inch a Man,” artist and Triple Canopy contributor Bryan Zanisnik spends five hours a day, Thursday through Sunday, inside a Plexiglas booth, reading a copy of Philip Roth’s The Great American Novel (1973) while wearing goggles to protect his eyes from the baseball cards and outdated currency being blown about by the fans installed within the booth’s base. During a reprieve from this durational performance, Zanisnik met with Triple Canopy senior editor Colby Chamberlain to discuss the exhibition’s catalogue.

Miscellaneous Uncatalogued Material is a new publication by Triple Canopy with Sarah Crowner, David Horvitz, and Ariana Reines, designed by Tiffany Malakooti. The broadsheet emerges from a series of programs by the same name, organized by Triple Canopy as part of the Museum of Modern Art’s Print Studio.

We're pleased to announce the publication of where’s my fucking peanut, a new limited edition created by artist Rachel Harrison to benefit Triple Canopy. The work is now available and will be on view at Frieze New York, May 4–7 (booth A13).

Murad Khan Mumtaz and Alyssa Phoebus, in their collaborative project “Origin, Departure” in Triple Canopy, illustrated their experience of leaving America for Mumtaz’s native Pakistan by deconstructing and manipulating the materials facilitating their passage—their passports. For his recent series, “Return,” Mumtaz revisits the Pakistani art of miniature painting. He speaks with Holly Stanton about indigenous materials and sacred geometries, from the seal of Solomon to the landscape of the American Southwest.