Long Live Generation 6-7

I was married to an artist once. It was not a good experience, although calling it “an experience” makes it sound like a unified, parsable thing, and it wasn’t that, either. We’re all adults here, is what I’m getting at — so no one should imagine that anyone has bulletproof insight into anyone else’s romantic relationship, much less their own.

Certainly, once a relationship is over, it becomes a moving target in permanence: the good, the bad, and the ugly all trading places, each a microcosm in which various genres of chaos and ecstasy hold sway. And whatever we may think of other people’s marriages, we must take care. What we believe we know is almost always something we meant to say about ourselves. The phone call is coming from inside the building. If you see something, well, see something. | Lucy Ives

Reigning diva Amygdala brings Brooklyn drag to Manhattan in “Pleasure Dome: Continuum,” a fête of therapeutic sound, vaudeville tributes, and queer politics. | Hrag Vartanian

The works draw on motifs of migration, but the motifs themselves migrate across the gallery. | Min Park

In Ridikkuluz’s paintings, the irascible dog emerges as a symbol for Israel’s oppression of Palestinians. | Daniel Larkin

Her new paintings remind us that the world is a room we share with strangers, most of whom are looking elsewhere. | Hrag Vartanian

It might have made a more fascinating exhibition to explore her balancing act as a gallerist, but this show focuses on her less interesting art. | Seph Rodney

Former artist residents of the LA nonprofit fear leadership has strayed from the radical, queer energy that Tom and his house embody. | Matt Stromberg

“Art became a tool to communicate, at first,” she told Hyperallergic. “Then it became an obsession.” | Aruna D’Souza

Forty-six entities displayed zines, academic books, textiles, and artwork — some even made in real time — at the third edition of The Latinx Project’s La Feria. | Gabrielle Vazquez

Founded by a group of artists from the Film-Makers’ Cooperative, the avant-garde space remains a supportive home for a community of experimental and non-commercial filmmakers. | Irene Lee

Forty-six entities displayed zines, academic books, textiles, and artwork — some even made in real time — at the third edition of The Latinx Project’s La Feria. | Gabrielle Vazquez

Institutions are human creations. Building and reshaping them requires imagination, experimentation and a tolerance for uncertainty. | Amy Gilman

After stabilizing, modernizing, and diversifying the century-old artist retreat, Richardson says she’s ready for a new chapter. | Hakim Bishara

Roberta Gentry’s visions in orange and blue, Jordan Nassar’s tatreez puzzles, 12 Japanese women who shaped hard-edge abstraction, Susan Silton’s feminist conceptualism, and more. | Matt Stromberg

“Turner and the Slave Trade” recasts Romanticism’s relationship to nature and landscape painting as a vehicle for colonial propaganda. | Tao Leigh Goffe

A new biography attempts to make the case for Tanning’s independence and artistic strength in her own right, but remains frustratingly tethered to her husband. | Lavinia Liang

Artists, poets, and scholars mull over words of their choosing in this book, offering new definitions of phrases from which Blackness proliferates: “world,” “water,” “care.” | Jasmine Weber

“There’s a lot of construction going on en route. Sometimes I capture the sounds.”

This week, we honor a Viennese Actionist, a journalist who captured Apartheid, and a poster designer for concerts and films.

AINA Gallery’s inaugural exhibition, “Other Stories — A Genealogy for the Present,” celebrates modern and contemporary non-Western art.

From “the act of looking” to intelligent technologies, “Olivo Barbieri: Time Space Geometry” and “Haunted” explore how images shape our perception of reality. Opening September 19, 2026.

The exhibition illuminates the role that women played as artists, designers, and tastemakers shaping modernist aesthetics in early 20th-century Vienna.

The internationally traveling exhibition shows the complexities and interconnectedness of these relationships. On view September 25 - December 19, 2026.

“Designed to Be Red: Native American & Indigenous Poster Works” is now on view at Poster House in New York City through February 21, 2027.

Seattle’s glass festival returns with milestone anniversaries, fresh art, parties, demos, exhibits, and open studios with the vibrant theme Year of Celebration.