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Concrete and Sex, Sasha Kurmaz´s third publication, is broadly structured around what has become a common motif in his work: the juxtaposition of nude snapshots against the post-industrial, post-Soviet architecture of Kiev, Ukraine. On one hand, it´s impossible to ignore the political implications of this approach - as in so much of his output, one finds here the blunt advocacy of sex, vandalism, and, of course, artistic expression as meaningful responses to repressive conditions, and it doesn´t feel like a stretch to view this work, at least partially, as a comment on the status of the individual (whose identity within these pages is repea- tedly (and tellingly) obscured by anonymity and/or physical distortion) within the broader mechanisms of public ideology and fading history.