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Much has been written on the intertwined histories of art and money, from trompe-l’œil depictions of banknotes to so-called money art to the elements of trust and authenticity undergirding these arenas. Yet, what happens when an artwork representing paper money is inserted into the financial system itself? What mechanisms of monetary production and regulation are activated and revealed? In the 1980s and 1990s, artist JSG Boggs realized Boggs Bills — representations of banknotes that pulled the financial system and the laws regulating money into art, and likewise, pulled art into the machinery of finance and its governance. Alongside the more widely discussed modes of creative engagement such as intervention, culture jamming, and semiotic disobedience, I propose the term contrast agent to discuss the operations of Boggs Bills within the systems of art and law. This conceptualisation allows for a consideration of the laboratory-like mapping of the vectors of exchange performed by Boggs Bills as they weave through various bureaucratic systems. These works of art were injected into and circulated through different arenas of exchange, animating the bureaucracy that both constructs and regulates money.

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In her play Prima Facie, playwright and lawyer Suzie Miller uses theatre to critique legal responses to sexual violence. This article thus offers an analysis of the play as both feminist theatre and feminist advocacy. We examine the rhetorical and performative strategies it deploys, arguing that they are effective because they mobilise long-standing feminist tropes which use a representative figure of the traumatised victim and the repetition of statistics to position the audience as potential victims of violence. Such strategies, however, fail to account for the complexity of sexual violence, intersectional understandings of it, or its relationship to other structural forms of harm that flow from turning to the state, as articulated by Black feminist scholars. These limitations also function in the play’s loop between an indictment of law’s failings and recuperating the law as a privileged site for responding to sexual violence. We read this tension as exemplifying the play’s enactment of a cruelly optimistic relationship to law, which is, we argue, a recurring feature in feminist cultural advocacy around sexual violence. However, we also suggest that reading the play through the words of its protagonist can open visions of justice beyond what Carol Smart has described as the ‘siren call of law’.

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Prison stories play an important role in people’s understanding of incarceration with the underlying messages often supporting it as an effective solution for the crime problem. While core elements flow between most types of prison representations, advances in media technology present new ways of constructing these stories, making it easier for those who have experienced incarceration to control the message. Podcasting is one such development. This easily accessible medium is able to present a unique listening experience that has been found to induce empathy, strengthen the connection to the subject, and has the potential to contribute to changes in attitudes. This article compares two incarceration narrative podcasts, Ear Hustle and Red Onion Randy—Life in a Supermax, to demonstrate the potential power of this intimate form of media. Drawing from transportation theory, as well as literature on literary journalism and auditory storytelling, it considers how podcasting can be utilized to create a lived or felt experience for listeners that has the potential to begin to shift popular incarceration narratives.

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