In Petrit Halilaj’s current exhibition at the New Museum the artist again explores matters of excavation as a means to explore issues of nationality.
Geta Brătescu’s work positions the artist as a creator of freedom even in oppressive times.
At the Met Breuer, four works by David Hammons, Arthur Jafa, Steve McQueen, and Mika Rottenberg overlap with and inform one another.
A survey of Rama’s work at the New Museum shows an almost manic motion between ideas and styles — the Italian artist’s way of defying reduction.
Anne Teresa De Keersmaeker’s Work/Travail/Arbeid is a kind of communal performance in which everyone is welcome.
The artist’s “Kulturegeschichte 1880–1983” (“Cultural History 1880–1983”) is a seemingly endless archive that renders the viewer mute.
Kai Althoff’s paintings, drawings, sculptures, and artifacts at the Museum of Modern Art provide questions rather than answers.
To enter Douglas Crimp’s exhibition at Galerie Buchholz is to enter a state of overwhelm.
The artist’s current exhibition at Andrea Rosen Gallery explores and interrogates what it means to be a participant in American culture.
BERLIN — Thomas Struth’s current exhibit at the Martin-Gropius-Bau is compact yet compelling.
One thing that is immediately apparent in Al-Ugh-Ories, Nicole Eisenman’s show at the New Museum, is her streak of resistance.
Fatima Al Qadiri has just released her second full-length album, Brute. A concept album, it is, according to Al Qadiri, a protest album in the lineage of Marvin Gaye’s “What’s Going On.”