As guest editor of the artist's section for this issue, a relatively new feature of Art Journal, I have sought to include material that dovetails with the theme of the scholarly essays on uneasy pieces. Joseph Kosuth's contribution to this issue is apposite. His provocative installation in late 1990 on troublesome art, titled “The Brooklyn Museum Collection: The Play of the Unmentionable,” placed the current debate over freedom of expression in a broad historical, literary, and aesthetic context; at the same time, it had an immediacy derived from its physical and institutional setting. The use of words in Kosuth's art insures that his “writing” for Art Journal will be read simultaneously as verbal and visual text.