On the occasion of publicly showing her private collection of work by women artists, Valeria Napoleone talks about why such a display is necessary.
Gina Adams sews text from the American Indian Treaties onto quilts, articulating the deception and violence used to marginalize Native Americans in the formation of the United States.
Our handy guide to this week’s 11 art fairs in New York City, from the august ADAA Art Show to the diminutive Salon Zürcher, supplemented with animated GIFs.
While digging to build a McDonald’s in Marino, Italy, workers discovered an ancient road. The fast-food chain paid to restore it — and integrated it into a restaurant.
At Printed Matter’s annual event, some of the highlights were objects that expanded upon the idea of what books can provide: an affordable means to experience and collect art.
Public Art Fund’s Commercial Break places interventions by 23 artists on advertising screens around the city.
According to museum visitors, someone attempting to take a selfie in Yayoi Kusama’s newest mirror room fell into the gleaming patch of pumpkin sculptures and broke one of them.
James Casebere’s latest photographs show the modernist homes of Luis Barragán alluringly yet threateningly devoid of people or any signs of human habitation.
Whose Streets? Our Streets! New York City: 1980–2000, now on view at the Bronx Documentary Center, collects 20 years of protest photography in New York City.
The latest iteration of artist and curator Willy Kautz’s Jippies Asquerosos (“dirty hippies”) project takes up themes of religion, capitalism, and communism with lightness and theatricality.
In The Estrangement Principle, author Ariel Goldberg warns against the dangers of overusing the word “queer.”
It seems like a simple question, but it unleashes a lot.