Considered the Father of the Happening, Kaprow started off as a painter whose work reflected a Cubist-inspired, pre-AbEx aesthetic.

Thomas Micchelli
Thomas Micchelli is an artist, writer, and co-editor of Hyperallergic Weekend.
Leon Golub’s Cycles of History
Golub’s paintings cast the West’s Greco-Roman heritage not as a reflection of reason and order, but as a manifestation of its latent savagery.
Michael Landy’s Art of Destruction and Renewal
After destroying everything he owned in 2001, Landy seems to be rushing to fill the vacuum.
The Iconoclastic Kinship of Kiefer and Rodin
In the new exhibition Kiefer Rodin, Anselm Kiefer draws a straight line between himself and the grand old man of French sculpture.
Art Among the Ruins
Daniel John Gadd is Elizabeth Murray’s spiritual heir, with a difference.
Michelangelo’s Majestic Humanity
The Met’s new exhibition presents Michelangelo not as a demigod, but as a student, a thinker, a teacher, and a friend.
Arshile Gorky’s Heretical Abstractions
Ardent Nature: Arshile Gorky Landscapes offers an in-depth exposure to the artist’s personal flowering after spending years at the altar of Cézanne and Picasso
Alberto Savinio’s Pre-Postmodern Grotesque
Savinio’s adulteration of old and new was highly influential in the postmodernist revolt against the strictures of formalism.
Perfection of Form, Color, Space, and Light
In the exhibition Excavations & Certainties, Theresa Hackett’s paintings and Shari Mendelson’s sculptures interact with a transcendence that turns the installation into its own immersive entity.
Amedeo Modigliani’s Identity Politics
A half-Italian, half-French Sephardic Jew, Modigliani was a cultural mixed bag from the get-go.
When Art Refuses to Let Go
Delirious at the Met Breuer is an exhibition filled with beautiful but comparatively polite works by habitually transgressive artists.