Vast in size and scope, Memory Lost recalls a mid-career retrospective more than a single gallery show.
Las Carpetas takes a crucial step in exposing the surveillance of activists. But are pictures of folders the most effective way to tell the stories of people impacted?
Overlaid with trauma, guilt, and questions of accountability, neither the small space of Elongated Shadows, nor its online viewing room, can quite contain all of those layers.
Installed in over 500 bus shelters and 1,700 wifi kiosks around the five boroughs, Art on the Grid softens, just a little, our long waits, for the bus, for the pandemic to be over.
As stores begin to reopen, the future of these artworks remains in limbo but one thing is certain: for the first time in decades, the Manhattan neighborhood is teeming with art again.
While the government promises to preserve the Picasso murals to be utilized in a new building, preservationists are unmoved.
Artists are rallying in the wake of Isabel Cabanillas de la Torre’s murder, with an artist collective asking that people all over the world take to the streets to protest their member’s death tomorrow, January 25.
Philip Buehler’s photographs are neither a nostalgia fest nor disaster porn, but an unsparing documentation of the decay that marks time and cultural change.
Anyone willing to view Alice Miceli’s Projeto Chernobyl on its own terms, to see radiography as both a practical tool and a potential art form, will be richly rewarded.
The renovation aims to be big enough to not only hold the institution’s art, but its promises.
The works in Figuring the Floral start a conversation, collaborate, and even merge with the natural beauty of the public garden and cultural center Wave Hill.
Author Clare Clark’s In the Full Light of the Sun raises important questions about the lengths we go to distract ourselves from governmental horrors, and how art can’t save us, but it doesn’t manage to find easy answers.