Manal Shoukair’s installation at Shylo Arts, a transparent scrim stretched across the entire space at about chest level, is an understated but powerful intervention.
Carlos Rolón’s latest body of work transforms the iconography of Spanish colonialism in the Americas while elevating memories and images from his childhood in Chicago’s Puerto Rican community.
The connection to between Lauren Kalman’s specific body and the process she has undergone to produce these objects is laid out in graphic terms.
An exhibition in Detroit’s Mexicantown takes an in-depth look at the black velvet painting tradition in Chicano communities, from renderings of a Nahuatl legend to portraits of Elvis and Zapata.
An exhibition at David Klein Gallery brings together Buchanan’s evocative shack constructions and pastel drawings.
Michel Arnaud’s book makes a fine addition to any Detroit-lover’s library, but it takes away the elements that make the city real, vital, and colorful.
The works in Chris Reilly’s solo show at Cave gallery feel vulnerable and handmade, like digital quilts.
A massive group exhibition at the Museum of Contemporary Art Detroit was basically drawn from junk, and so it remains.
At Detroit’s N’Namdi Center for Contemporary Art, John Sims conducted a two-hour-long Confederate flag funeral.
The Detroit/Puerto Rico Solidarity Exchange Network aims to strengthen connections between Puerto Ricans on the island and those in the diaspora, and make new ones with activists in the Motor City.
A visit to the 2017 Biennale Internationale Design Saint-Étienne offers an important reminder that we’re surrounded by designs created to encourage some behaviors and obstruct others.
A show at Detroit’s Wasserman Projects brings together Willy Verginer, Christer Karlstad, and Jason DeMarte, all of whom consider our relationship to the environment.