From anonymous pamphlets in which 18th-century art critics challenged the authority of the French Académie Royale while claiming to speak for the anonymous public to artists’ collectives like the Guerrilla Girls, who, since the mid-1980s, have harnessed the namelessness of their members for purposes of activism and of institutional and feminist critique: For a long time, anonymity in the art world was seen primarily as an emancipatory strategy; now, however, developments in society, politics, and media technology call for a critical reassessment. This very inquiry drives the latest issue of Texte zur Kunst, “Anonymity.” Probing contemporary phenomena in art and media in relation to historical examples and theories, it maps the complex tensions shaping the debate around identity and anonymity today.