In the recently published collection We Are in Open Circuits, Paik’s prescient critiques of image consumption suggest he probably would’ve been great at Twitter.
Jean Shin’s “Allée Gathering” at Storm King shows how little many of us know about trees and nature.
The Racial Imaginary Institute wants to “make visible that which has been intentionally presented as inevitable,” to disrupt the “bloc” of whiteness.
He stares down the evils that have driven history, intervenes in public spaces, and collaborates with science — all in service to strengthening community
The show offers rich historical materials, but little contextualization or insight into its relevance for our current political moment.
The Schomburg Center examines the importance of the political and social movement, from its poetry and music to its inspiring of marginalized groups around the world.
This course offers a starting point: assignments for the white artist to understand their own racial position.
Chinatown has long been a home to radical organizers and artists, collectives, and movements that have taken on questions of art production and displacement.
Each of these thoughtful, well-realized works offers an investigation into global politics, the contemporary as historical, and environmental collapse, with room to laugh, rest, and think in between.
In his new series at James Cohan Gallery, Mud Root Ochre Leaf Star, Byron Kim paints bruises that radiate tenderness and hurt.
For a New World to Come: Experiments in Japanese Art and Photography, 1968–1979 offers an ambitious social and art history of a decade ignited by protest, shaped by global power dynamics, and visualized through new art forms.
When I heard that the Boston MFA was launching a dress-up social media campaign called “Kimono Wednesdays” based on a painting by Claude Monet, that a group of young Asian American protesters asked them to stop, that the MFA did and apologized, I thought it was an open and shut case.