Fighting the Western perception of Iran as a hostile war zone, Mohammed Afkhami began collecting artworks by Iranian artists to highlight the country’s rich cultural production.
In Colette Lumière’s world, the theatricality of Versailles meets the punk ethos of the Sex Pistols.
Since 2014, Alison has been visually dissecting Monique Wittig’s novel The Lesbian Body, which theorizes the split subjectivity women experience in language, an inherently patriarchal structure.
Curated by Monika Fabijanska, Betsy Damon — Passages: Rites and Rituals pulls Damon’s performance practice out from oblivion.
Council often uses humor as a political tool to expose systems of power and inequality in a society in which even death carries a high price tag.
I have to credit David Zwirner for attempting to include the queer community, but I can’t help but feel conflicted about the whole initiative.
Working amid the AIDS crisis, Hugh Steers’s paintings exude a graceful, figurative style that went under-recognized during his brief lifetime.
In Russia, high schoolers have massively taken to TikTok to express their support of Alexei Navalny, the resolute opposition leader most feared by the Kremlin.
Contrary to the laconic distance experienced among Eisenman’s works, Boadwee’s radiates a frenetic energy that stimulates the senses.
Messy and tender, like a summer fling, Sillman’s drawings embody both the sense of decay and unyielding hunger for life that marks our current times.
An intriguing meditation on the flawed two-party system, the power of Katchadourian’s Monument to the Unelected lies in its ability to confront us with alternative histories.
Morgan Bassichis’s The Odd Years is a visual, poetic diary that is perhaps best read as an endurance piece.