Guadalupe Maravilla’s first New York museum show resolutely harnesses the otherness of illness, while never surrendering to the notion of suffering as a totalizing narrative.
Ortiz’s radical approach to art led from unleashing of aggression through ritualistic performances to political engagement and the founding of El Museo del Barrio.
Much like her writing, O’Grady’s photomontages pressure binaries until something other, something “both/and” emerges.
Edelson followed the hunch that if women artists didn’t create this history for themselves, no one would.
The small New York art fair celebrated its 26th edition with the works of 11 women artists.
In Calzolari’s recent paintings, organic and metaphysical forces are one: vapors are rudimentary atmospheric gas particles, but they also signify wonder and bliss.
Abramović’s art embodies a dark, personal truth: one overcomes punishment through self-sacrifice, denial, turning the hurt into a weapon of liberation, at times literally bought in blood.
Kaufman’s sculptures can go from orderly to helter-skelter, making them seem like willful renegades from an industrial assembly line.
What’s clear in These Conditions is artist Adelita Husni Bey’s ambition to push art to be more than an exercise in spectatorship.
While I cheered at the idea that a largely forgotten woman Dadaist was finally getting her due, I couldn’t help but wonder why the art world’s recognition of Sophie Taeuber-Arp has been so spotty.
Video art was something you watched “with the lights on,” as França insisted, without pretenses of high art.
Jaider Esbell showed us that future biennials will need to look to art activists and ethnic collectives not as contingent collaborators but as authoring agents.