The fate of innumerable sacred lives, buildings, and artifacts destroyed mainly by Ethiopian and invading Eritrean troops are still being willfully ignored by Western governments and international organizations.
How might the average Mexican visitor might perceive Frida Orupabo’s Fear of Fear, in a country where Afro-Mexicans make up roughly 2% of the population?
Alternative curatorial projects are taking creative risks and shaping Mexico City’s art fair ecosystem on their own terms.
Miguel Calderón examines class, violence, and corruption in Mexican society with macabre, irreverent humor.
Scores of cultural heritage sites are in ruins amid a fragile truce and an ongoing war of narratives.
Nothing on the canvas wholly captures what it means to belong on land or at sea.
It’s hard not to question why Asmara was named a World Heritage Site, especially as the country is reeling from decades of hardship.
Even if Murillo poked fun at the art world’s oblivion and privilege, what a fool I was to think that my stint in Palenque would instantly morph into a sequel to his work.
At Jack Shainman Gallery’s The School, a show of four artists explores how our memories of a place can shift radically after war.
LIMERICK, Ireland — Still (the) Barbarians is the bold title for this year’s EVA International Biennial in Limerick.