Chohreh Feyzdjou - Iranian artist who died in Paris in 1996 at the age of 41. His 'products' consist of hundreds of rolled-up paintings and crates. It's like he was permanently on the move.

Joelle Tuerlincks - formalist experiments with text, photos, video, space and time, exploring what she calls 'stretch vision'. A prolific number of 'tools for thinking and seeing'.

David Small's The Illuminated Manuscript' is an impressive piece of design engineering. A projector throws images of dynamic, scrolling text onto the turnable pages of a book.

Raymond Pettibon's orgy of drawings and cartoons exploring private and popular culture.

Destiny Deacon's charming video of a boy and a girl playing with photographic masks of their own and others' faces. 'Identity' becomes an innocent game.

Glenn Ligon's coal dust paintings using stencilled letters inscribe passages from James Baldwin's 1935 essay 'A Stranger in the Village'. The resulting illegibility is in curious contrast with Okwui Enwezor's evocation, expressed at the press conference, of the experience of reading charged texts. Ligon's all-over modernism aestheticises and abstracts from lived experience.

Mona Hatoum's electrified scene of domesticity looks less threatening in Kassel than it did at the Tate Gallery in London. Nevertheless, it is a major work that does justice to all the concerns expressed in her career to date.

Inspired by August Sander's 1920s documentation of German 'types', Fiona Tan's filmic studies of German citizens is more personal (thanks to her own spoken commentary) and consequently less arbitrary, but at the same time it fails to address the proto-fascistic implications of Sander's work.

No show of 'committed' art would be complete without Leon Golub's highly-charged, expressive paintings and drawings dealing with human abuse and misery. His disquieting images possess a terrifying beauty.