The expressionist movement is known for primarily taking place in groups and for producing an almost overwhelming number of magazines from its various projects. Among this mass, Herwarth Walden's Der Sturm (1910-1932) and Franz Pfemfert's Die Aktion (1911-1932) stand out as the two magazines that far surpass the other often short-lived publication experiments in terms of their reach and significance. These two leading publications of the movement are essential for the dissemination of expressionism as an artistic movement, and especially Der Sturm continues to shape the image that academia and the public have of expressionism today. Both magazines have repeatedly been at the center of research, with Der Sturm receiving significantly more attention in recent years. However, they are rarely compared to each other, which this issue aims to encourage. In addition to essays that illuminate both magazines together through overarching themes, particularly in discussions about the mediation of Belgian art, Josef Capek, Peter Hille, and Max Brod, the issue includes separate contributions on the two leading publications of expressionism: on the one hand, the history of Die Aktion and its role as a magazine of communist dissent, and on the other hand, the Sturm Gallery, Herwarth Walden's portrayal of women, and Magda Langenstrass-Uhlig.