A first step is to resist the convention to distinguish “art” from “culture,” which has served to cut off domestic arts policy in the U.S. and elsewhere from broader appreciation of the cultural challenges that cross cut international affairs. Especially for applied arts NGOs working with international counterparts. A second step is to recognize and interrogate our own assumptions about the purpose and value of “art.” A third is to re-inscribe “art” back into its encompassing local and transnational settings of social engagement and meaning.

The long queues in front of Angola's pavilion at the Venice Biennale bear witness to the extraordinary success that Africa has just had at the "Olympics of the art world". Ever since it was announced that, out of 88 contenders, Angola had won the Golden Lion award for the best national participation, art lovers and journalists from all over the world have been flocking across the Accademia bridge - from the distant main exhibition areas, the Giardini and the Arsenale - to try to see the show.

At the end of this year, New York’s Metropolitan Museum of Art will present a major survey—“Ink Art: Past as Present in Contemporary China” (10 December-6 April 2014). Meanwhile, in Hong Kong, the planned M+ museum is seeking a specialist contemporary ink curator. Hong Kong, in fact, has been the cradle of the new ink movement since the mid-20th century.

The revival of Cambodia’s rich and unique cultural heritage has fueled the country’s impressive recovery from the Khmer Rouge’s genocide of 1975-79. This message rang unmistakably true as the Season of Cambodia (SOC) has dazzled New York audiences in museums, universities, galleries, and performing arts centers over the past month.

The revival of Cambodia’s rich and unique cultural heritage has fueled the country’s impressive recovery from the Khmer Rouge’s genocide of 1975-79. This message rang unmistakably true as the Season of Cambodia (SOC) has dazzled New York audiences in museums, universities, galleries, and performing arts centers over the past month. Both the US and the Cambodian governments stand to learn from this game-changing lesson for post-conflict development strategy, but neither government seems to have noticed.

For two weeks earlier this month, Robert A. Richter was traveling in Pakistan, scouting performing artists as part of a new cultural diplomacy initiative. Richter, the director of arts programming at Connecticut College, was asked to be part of a team that was assessing talent for Center Stage, a program of the U.S. Department of State's Bureau of Educational and Cultural Affairs.