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The article presents a reprint of the article "On the Limitations of the Missionary Position: Problems of Regional Art Publishing," by Laura C. Lieberman, which appeared in the November/December 1983 issue of "Art Papers." In the article, the author discusses the usual problems of art publishing, which she claims is generally a missionary job. She also cites the views of several individuals on the issue, including Derek Guthrie of "The New Art Examiner" and Frank Hodsoll.

The article discusses the highlights of the 1982 Arts Festival of Atlanta from May 9 to 16, 1982. Among the exhibit pieces were Stephen Antonakos' neon bars suspended from trees and banners from Sam Gilliam. William Pantsari's "The Forum" was one of the works commissioned by the Arts Festival of Atlanta. Food concessions at the arts festival included Radio Free Georgia and Pepperland Farm.

The article reviews the exhibition "Artists in Georgia" at the High Museum of Art in Atlanta, Georgia from November 8 to December 31, 1980.

The author reflects on the problems of producing a regional art magazine as of 1983. She argues that the major difficulty of regional art publishing lies in the size of the audience, which is less than 10,000 subscribers in Southeast America. She believes that the closure of city's artist-run spaces is a general trend, especially in the regions where government funding has had a major effect. She also relates her belief that "Art Papers" will remain in service to art and artists of the Southeast.

An interview with Mississippi artist Greely Myatt is presented. When asked how his Piedmont Park project is an extension of his previous work, he explains that the piece has a hundred planes suspended over the lake that goes into and away from one another. He points out that his work is arranged in the order of a squadron and the planes without direction but are suspended to form a circle from a distance are his favorite. He is attracted to lead because he can melt it at low temperature in his kitchen stove and liked its heaviness.

A personal narrative is presented which explores the author's experience as an editor of "Art Paper."