Louisa Bufardeci, Ph.D. (2022), University of Melbourne, where she teaches in the Critical and Theoretical Studies program at the Victorian College of the Arts, Faculty of Fine Arts and Music. She is also a practising artist and a string figuring enthusiast.

• prefaceacknowledgementsillustrationsnote to the readerintroduction1 The sea between A and I and the question of privilege2 privilege, art and contemporary art3 tacking4 outline of the chapters1 “what to do?”1 “if you see yourself as part of me and I’m part of you …”2 making declarations3 moves to innocence4 subject position5 the double bind is, and as, a political field2 relinquishing ‘contemporary art’?1 how do issues of race sit in contemporary art at the present moment?2 whiteness in contemporary art practice3 doing differently as a mode of contemporary art3 the practice of tacking1 the seemingly impossible history of string figuring2 string figures in contemporary art3 the practice of tacking4 tacking in practice5 the conditions of tacking4 tacking and tacktical1 the etymological relations of tacking2 ‘tacktical’ as a neologism5 what tacking does1 techniques of relation2 tacking as a technique of relation thinking-with and making-with response-ability3 tacking in the borderspace4 touch5 play6 tacking as a methodology: a tacktical methodology