What most stands out for me about 52 Artists at the Aldrich Contemporary is the sense of both engaging with and resisting categories.
What struck me most about LJ Robert’s Carry You With Me is the way in which it depicts some of the complexity of queer New York.
First published in 1979, Eye to Eye is a work of social practice art that existed decades before the term entered the lexicon.
Saddled with student loan debt? Now might be a good time to pick up the Debt Collective’s Can’t Pay, Won’t Pay, which makes a compelling case for “economic disobedience.”
Attempting to complicate dominant narratives, The Stonewall Reader offers a broader, but not always balanced, range of accounts.
A recently published volume of Vernon Lee’s writing reveals a woman who is a product of privilege, as well as someone who used what it afforded her to resist the status quo.
By asking what is and is not allowed, for whom, and who is writing the rules Curriculum at EFA Project Space offers tangible opportunities to challenge viewers’ thinking.
By championing work in two perennially overlooked forms, artists books and performance art, often by artists who themselves are overlooked, Franklin Furnace’s archive is a repository of what doesn’t easily fit.
An exhibition at El Museo del Barrio brings us to the thorny side of profound themes like martyrdom and labor.
In Donna Gottschalk’s photographs we’re not seeing LGBTQ history filtered or retold; we’re seeing it in the moment, from women who were there as it was unfolding.
“Time is now compressed and every painting I do… I make with the sense that it may be the last thing I do,” Wojnarowicz wrote after his AIDS diagnosis in 1987.
A gloriously tactile exhibit at the Center for Book Arts offers a refreshing sense of playfulness in this age of anxiety.