This year’s biennial was a mash-up of claims and interests that played out in four exhibitions grouped under one umbrella.
With a Weapon and a Grin, a new book by Stephan Likosky, traces the iconography used to infantilize African soldiers who fought in the French army during World War I.
Isabel Kim’s delightful Infinite Artwork Simulator is “a tongue-in-cheek artwork description generator” based on Mira Schor’s musings on “Recipe Art.”
An exhibition at the Princeton University Art Museum showcases the vessels of the so-called Berlin Painter, highlighting the oft-overlooked comedy in Greek ceramics.
The Little Haiti Book Festival, now in its fifth year, is an homage to Haiti’s culture and historical legacy, both past and present.
A subterranean field of lavender, planted by Martin Roth in Midtown Manhattan, is nurtured by lights that are largely controlled by the President’s tweets.
From dance and stand-up comedy to rap and performance art, Movement Research’s spring festival — titled “surprise! surprise(!) surprise/! surprise” — offers a bit of everything from an impressive range of performers.
In a video and performance, artist Monet Clark uses the character of a Playboy Bunny to navigate the Anthropocene, a situation of political pitfalls and environmental catastrophe.
The emphasis in this series of paintings by Chris Barnard is to highlight the role of institutions of privilege in the perpetuation of racial violence in the United States.
In a new genre-defying book, Jasmine Dreame Wagner subjects her life to critical scrutiny with the help of philosophers, theorists, and artists.
An event at JACK presented five performances dealing with what it means to make art in an age of crisis.
This week in art news: Sam Durant and members of the Dakota Nation agreed to ceremonially burn his Walker Art Center sculpture, activists demanded the removal of a Confederate monument in St. Louis, and the diocese of Málaga chastised street artist Space Invader.