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The author treats the topic of AIDS as a focal point for artistic politics in the United States and, eventually, in a larger international context as well. He considers a range of representations of AIDS in contemporary art since the 1980s & considers how AIDS became a pivotal point around which thinking about artists' activism & art as social intervention turned. He discusses AIDS as a paradigmatic case for a new global, biopolitical, & mediatized cultural phenomenon that bore with it a new ensemble of political, moral, & economic effects, in turn profoundly affecting conceptions of aesthetics & activist art. In the latter part of the essay, he develops a typology of strategies utilized by artists in addressing the problem of AIDS: 1) transcoding strategies; 2) media critiques and/or critiques of culture industry representations of AIDS; 3) alternative publicity; 4) AIDS exemplars; & 5) strategies of mourning & memoralization. Adapted from the source document.

There is a strong Calvinist spirit in the professional work of all our Reformed Church criminal lawyers. Educating offenders, involving them in work, helping prisoners, helping and protecting those at risk played a primary role in their response to crime. Finkey's approach was in harmony with this tradition. He was convinced that without the involvement of the society, without the active help of the churches, there would be no effective crime prevention. He emphasized the importance of education, arguing that education is necessary not only for juvenile offenders but also for the adults. Following the North American "reformatory school", he called for establishing correctional institutions in Hungary, as many as possible.