Confronted with a new national consciousness around racial inequity, two New York City art exhibitions focus on mourning with varying degrees of success.
Rakowitz has installed at the Wellin a partial reconstruction of “Room H” within the Northwest Palace of the ancient Assyrian city of Nimrud.
In Hammons’s body prints, the veteran artist melds method, intention, and significance.
The Twenty Twenty exhibition at the Aldrich uses using hand drawing to record and describe the cascade of catastrophes that made 2020 feel like an entire decade.
Black Art, HBO’s documentary on Black visual artists, unwittingly demonstrates what a community gives up when it strives toward the mainstream.
We love representation, the power of signifying, and the incisiveness of well-argued critique, but by themselves, these tools won’t effect structural change.
This year-end issue of the Hyperallergic Special Edition consists of reflections, that acknowledge the struggles that the Hyperallergic team — staff writers and editors — experienced right along with our readers, while also keeping in sight the exhibitions, events, protests, and initiatives that buoyed us.
In “Self Must Die,” Fordjour’s penchant for lush colors and surfaces dovetails with the theme of churchified rituals of remembrance.
The artists at False Flag Gallery demonstrate the through line between art of the African continent and modern abstraction.
Mike Zahn gives us an image of Shrine’s empty gallery projected in the empty space, offering a commentary both meta and melancholic.
We are seeking opinions that encourage and cultivate thoughtful debate and make it possible to see aspects of an exhibition, policy, or initiative that we had not considered before.
Looking at the upcoming shows from Pace, David Zwirner, Gagosian, and Hauser & Wirth one hardly gets the sense that we are in a moment of acute crisis.