With over 125 pieces on view, Half the Picture could have been refined, showing fewer works without compromising its curatorial punch.
While the pieces on display are beautiful, The Met’s Jewelry: The Body Transformed exhibition is lacking in curatorial vision, dividing the objects into blandly-broad thematic sections.
Sandow Birk’s investigation of US culture and politics is unusual in that its own explicit politics are not overly didactic — a difficult line to walk successfully.
Firelei Báez: Joy Out of Fire, on view at Harlem’s Schomburg Center for Research in Black Culture, offers long-overdue recognition for a number of women activists, writers, artists, and politicians of color.
Awazu rebuked modernist design ideals in his graphic art and instead engaged with indigenous culture, popular symbols, and untidy visuals.
Lebohang Kganye’s images are a poignant celebration of her mother’s spirit.
Exhibiting a series of images from only one day effectively gives viewers a sense of this historical moment.
This exhibition of William Eggleston’s color photographs developed from negatives made between 1965 and 1974, reminds me of the tagline from the 1969 film Easy Rider: “A man went looking for America, and couldn’t find it anywhere … ”
Children’s art books offer opportunities for kids — and the adults in their lives — to engage with art in joyful and surprising ways.
Munch’s photographs exhibit an unfinished playfulness with technical manipulation and subject matter that is not as readily seen in his more well-known work.
Teresa Burga’s first solo museum exhibition in the United States focuses on her contributions to the Peruvian avant-garde and questioning of art-world hierarchies.
An ambitious exhibition at the International Center of Photography examines the relationship between new media and the offline world.