*Kashmir as a Borderland: The Politics of Space and Belonging across the Line of Control* examines the Kashmir dispute from both sides of the Line of Control (LoC) and within the theoretical frame of border studies. It draws on the experiences of those living in these territories such as divided families, traders, cultural and social activists. Kashmir is a borderland, that is, a context for spatial transformations, where the resulting interactions can be read as a process of ‘becoming’ rather than of ‘being’. The analysis of this borderland shows how the conflict is manifested in territory, in specific locations with a geopolitical meaning, evidencing the discrepancy between ‘representation’ and the ‘living’. The author puts forward the concept of belonging as a useful category for investigating more inclusive political spaces.

German artist Kurt Schwitters (1887–1948) is best known for his pioneering work in fusing collage and abstraction, the two most transformative innovations of twentieth-century art. Considered the father of installation art, Schwitters was also a theorist, a Dadaist, and a writer whose influence extends from Robert Rauschenberg and Eva Hesse to Thomas Hirschhorn. But while his early experiments in collage and installation from the interwar period have garnered much critical acclaim, his later work has generally been ignored. In the first book to fill this gap, Megan R. Luke tells the fascinating, even moving story of the work produced by the aging, isolated artist under the Nazi regime and during his years in exile.