Wilson’s installation challenges not just outwardly violent historical figures but subtle colonial aesthetics still embedded in the city’s more liberal public monuments.
The artist says her sculpture of a mother figure, located at the southeast entrance of the park, represents “a guide to search and honor our past histories.”
The curators of Son de Allá y Son de Acá emphasize the importance of creating pathways and fellowship for Mexican-American, Chicanx, and Latinx artists throughout the Southwest.
Guadalupe Maravilla’s first New York museum show resolutely harnesses the otherness of illness, while never surrendering to the notion of suffering as a totalizing narrative.
We know from historical records that the female-born French saint presented as a man with short black hair. Why, then, is she so damn feminine in artistic portrayals?
What most stands out for me about 52 Artists at the Aldrich Contemporary is the sense of both engaging with and resisting categories.
Jake Scharbach’s paintings dump on some iconic portraits as a way to highlight the crisis we’re living through.
As I wandered this fair, I asked myself: Who is being served by the purportedly revisionist undertaking of singing the unsung?
Paper is all about ease, comfort, and approachability, and it’s gratifying when artworks embody these values.
The fair is a welcome reminder that a lot of people make art, and regular people should be able to buy it.
At the Rolls-Royce of art fairs, I found chatty visitors, some good art, and works so bad they deserved their own section.
There’s an artist currently showing in Midtown Manhattan who is teaching a machine to paint.