The paintings of Kenyan artist Michael Armitage present a particularly resonant response to the expanded, repackaged, and redefined offerings at the reopened MoMA.
Doyle’s sculpture offers an opportunity to contemplate the beauty of pure form, but without a hint of nostalgia.
The exhibition Wars at David Nolan evokes political and personal violence as facts of modern life.
An odd pairing of drawings by Eva Hesse and sculptures by John Chamberlain sets up unintended comparisons between two artists who otherwise seem to share only an ingrained rebelliousness.
Manzoni’s work can be viewed as slight and Herculean, tragic and buoyant, mystical and materialist, minimal and baroque.
Leonardo da Vinci would have found a deep connection to the ostracism of Saint Jerome at the hands of the envious and the hypocritical.
With their free interplay of image and text, Spero’s Codex Artaud and the even more ambitious Notes in Time are nothing less than a personal redefinition of the nature and meaning of visual art.
The disparity between what we expect from domesticity and what lurks beneath the surface generates a finely wrought tension that coils throughout this show.
Freud’s forlorn, isolated figures and grotty interiors resonate appallingly with the steep cultural and social decline fated by Brexit, if it ever takes effect.
A rare sighting of an elusive painting.
An exhibition that questions whether art can be based on formulas without becoming formulaic.
Spilling Over: Painting in the 1960s at the Whitney Museum expands the common understanding of a pivot point in American art, while basking unapologetically in the pure pleasure of looking.