Art Review
Everyday Traces of NYC’s SWANA Diaspora
An exhibition at NYPL offers a window into life within this paradox where invisibility and visibility are two sides of the same coin.
Art Review
Art Review
Wally Hedrick Protested War With Sex
The countercultural San Francisco artist specialized in antiwar art and the transcendent potential of sex in the era of flower power.
Art Review
The Disappearing Art of Iberian Democracy
The varied, confrontational works on view at Madrid's La Casa Encendida are reminders of the intense labor required to protect liberty.
Art Review
A Cold Plunge Into Glenn Ligon’s Blue
New works exemplify a line of inquiry central to the artist’s practice: How might language and color merge to birth figuration?
Art Review
Squeak Carnwath Paints Her Own Path
This artist rejects the notion that paint as a medium inevitably becomes exhausted, incapable of making something, however broken it may be.
Art Review
Marigold Santos Takes Root
She uses epiphytes — plants that grow on other plants without harming them — as a framework for the expansive ways diasporas form.
Art Review
The Self-Invention of Helene Schjerfbeck
The Finnish artist’s first major exhibition in the US is a moving and harrowing document of her growth, as well as the psychic and physical ravages of aging.
Art Review
We Must Do More Than Simply Depict Our Lives
The best work in the Bronx Museum’s biennial indicates aspirations beyond this time and place.
Art Review
Ocean Vuong Is a Legitimately Good Photographer
One might assume that his photography is the nepo baby of his writing, but this is genuinely a great show.
Art Review
John Altoon’s Fever Dream Drawings
After a stint in 1950s New York, the LA-based artist abandoned abstraction and painting in favor of dreamlike, sexually charged drawings.
Art Review
The Shapeshifting Sculpture of Diane Simpson
From one angle, her sculptural constructions appear deep, but from another flat; here they look angled, there not.
Art Review
The Importance of Making “Degenerate” Art
Here, the term is reclaimed not as an insult but as an ethical position: art that refuses neutrality, civility, or institutional comfort.