Throughout the 21st century various craft practices have drawn the attention of academics and the general public in the West. In Craft is Political D Wood has gathered a collection of essays to argue that this attention is a direct response to and critique of the particular economic social and technological contexts in which we live.Just as Ruskin and Morris viewed craft and its ethos in the 1800s as a kind of political opposition to the Industrial Revolution Wood and her authors contend that current craft activities are politically saturated when perspectives from the Global South Indigenous ideology and even Western government policy are examined. Craft is Political argues that a holistic perspective on craft in light of colonialism postcolonialism critical race theory and globalisation is overdue.A great diversity of case studies is included from craft and design in Turkey and craft markets in New Zealand to Indigenous practitioners in Taiwan and Finnish craft education.