"Painting is a conversation," Allison Katz told The White Review in 2015. Attempting to keep pace is an exhilarating challenge. Within her work, Katz sets up puckish chains of association: a way of ensuring that meaning is always on the move. She generates content from often dissonant historical styles and sources, and frequently references her earlier work. Visual and linguistic plays abound, often making use of the markers of her identity, including her name, signature, and bodily features, which appear in various guises. By working against the torpor of nostalgia and convention, Katz sidesteps many of painting's dead ends - among them, the cult of hyper-individual expression that dominated much of modern painting, seduction by any single style, or the recent propensity to ape the flatness of the digital screen. Since 2009 Katz has created approximately 100 posters for solo and group exhibitions in which her work features. This issue contains a selection of Katz's posters to date, as well as a newly commissioned edition for the cover. The posters are considered artworks in their own right, and extend beyond the role of supplement or messenger. They may be sent out as announcements, printed in different sizes, displayed alongside paintings as individual works and as small and large editions, given away for free, printed after the exhibition has closed, or exist solely as jpegs. Multiple iterations are often produced for a single show, and dates, names, and locations are treated as elements to be abstracted. The presentation of her posters at Billedrommet, Norway in 2017 was the first instance of Katz's graphic practice being exhibited independently. Also on show was a collaged box, designed to store the archive, decorated to reflect previous themes while delevoping new ones. The posters are a result of an entirely digital process, using snapshots taken by Katz and created using graphic design software. They continue her interest in toying with the tenets of painting, and its display; extending the realm of the work beyond the cloistered space and finite duration of the exhibition, and complicating the hierarchies of medium, material and motivation.