In Building a Better Monument, nine artists remind us of the work that anti-racist monuments and movements must do: memorialize the fallen, while stoking the righteous anger needed for transformation.
This thoughtfully curated exhibition is evidence that much compelling and adventurous art is indeed being produced all around the country.
In his large two-part exhibition, the queer Haitian-American artist centers the body, which figures in his work both literally and figuratively.
The Curtains, Stages, and Shadows, Act 1 exhibition suggests that agency has everything to do with seeing rather merely being seen.
I have an innate distrust of work that has a whiff of nostalgia drifting off its surface, whether it is for Andy Warhol, Jackson Pollock, or, further back, Albert Pinkham Ryder.
A century after the emergence of Dada, Mickalene Thomas and Racquel Chevremont’s curated section is all about political collage.
Didier William’s slithery forms surge forth and recede within a sphere of visual gravitas — heaving, throbbing, breathing.