Duane Linklater’s exhibition at 80WSE asks us to consider how knowledge and tradition are transmitted.
“HEWILLNOTDIVIDE.US,” a work by the trio LaBeouf, Rönkkö & Turner, was originally intended to run for Donald Trump’s entire presidency at the Museum of the Moving Image.
On February 12, artist Molly Crabapple will deliver a “lecture for the end of the world” by the pseudonymous philosopher Fuck Theory at Postmasters Gallery.
Hollowed Earth: The World of Underground Business Parks at the Center for Land Use Interpretation descends into the strange world of America’s commercial caverns.
The Artists’ Political Action Network, led by artists Kathryn Andrews, Andrea Fraser, Charles Gaines, and others, will be hosting an organizing meeting at 356 Mission this Sunday.
Who would have thought that Dubuffet’s “art brut” style would eventually find an affinity with the gritty, unconventional large-scale paintings Poons made three decades later?
Anna Boghiguian’s exhibition in Nîmes draws inspiration from the city’s history, from its days as a Roman outpost to its important role in the global textile industry.
Embracing and reinterpreting cultural traditions from which black people have historically been excluded, Awol Erizku reimagines Beyoncé into an idealization that has typically been reserved for white women.
Closed for almost two decades, the historic Capitol Theatre in Flint, Michigan, is being restored and reopened as a cultural hub.
Best known as the artist in residence at New York City’s Department of Sanitation, the septuagenarian Ukeles is having her first full retrospective, at the Queens Museum.
This week in art news: anti-immigration protesters demonstrated at the unveiling of Manaf Halbouni’s monument to the people of Aleppo, Sotheby’s sued a dealer and a collector over an allegedly forged Frans Hals, and the Louvre reopened 24 hours after a man attacked a French soldier with a machete near its main entrance.