These books and articles deal with the most bedeviling questions that arise out of viral outbreaks, and offer intriguing studies by which we can chart a course toward health.
Two shows in New York City take profoundly different approaches to the idea, but are worth comparing for how they represent being Black and talented or accomplished.
The Buddha, like all of us, appears to have needed the periodic reminder to pick up eggs and contact his mom.
During the COVID-19 crisis, DreamYard pivoted its community-forward mission to provide free lunches on weekdays.
Due to the pandemic, museums and galleries are now creating virtual experiences. Here’s what it’s like to visit them.
Titled In Excess, this year’s Spring/Break is brimming with projects that deepen and extend a feeling of immersion by being hallucinatory, obsessive, and ravishing.
“I was genuinely and pleasantly surprised to find innovative contemporary works among the typical somberly scholastic approach at this year’s edition of Master Drawings New York.”
The collection of wonderful photographs, now online, chronicles the Alvin Ailey American Dance Theater from 1961 to 1994.
It’s not just that Moufarrege broke rules key to representational fidelity; he did it so elegantly that the rules thereafter seem like arbitrary ways of holding back a sensibility best left unrestrained.
Most shows can’t or don’t hold these very separate aspects in synchronous rotation: sober assessment of an art historical lineage and a feeling of intimacy. This one does.
The Edward Hopper and the American Hotel exhibition invites some visitors to spend the night in a room inspired by one of Hopper’s paintings, and our critic ponders who it’s really designed for.
The final exhibition of a trilogy at the Ford Foundation gallery imagines that our best selves have yet to be. They are on the horizon and the people who have been most oppressed, most ignored, and rejected will lead us all there.