The campaign is a collaboration by members of 12 activist-artist organizations, including Decolonize This Place, Forensic Architecture, and MoMA Divest.
Sarah Cain’s colorful abstractions delight with their blurring of boundaries but her latest installation falls short of its site-specific aims.
A new book compiles unstaged public photographs by 100 artists of all ages, hailing from 31 countries spanning Ghana to Iran.
Izumi Kato’s exhibition at Perrotin dispatches us to long-forgotten realms of childhood, when the world was full of benign, sinister, weird, and mysterious beings.
Artists included in the Gulf Wars exhibition say they were disregarded and demeaned after speaking up against MoMA Chairman Leon Black, owner of a security firm linked to untold carnage in Iraq.
To archaeologists, understanding the building of the Pyramids at Giza is a matter of scaling up the labor system seen earlier at sites like Abydos.
Themes of tourism, migration, and national identity inform the exhibition’s formidable and, at times, paradoxical quest to a shared homeland.
On Sunday April 11, Patrisse Cullors will be restaging “F*ck White Supremacy, Let’s Get Free” online for a global audience.
The cohort accused the MCA of “perpetuat[ing] harm to Chicago arts communities.”
Aitken’s exhibition “Flags and Debris” is informed by a dialectic of embodiment and absence.
As crypto art speculation rises, so do the planet’s temperature and questions about the carbon footprint of non-fungible tokens.
When traders on r/wallstreetbets started bankrupting short sellers of GameStop and AMC stock, social media rejuvenated imagery stretching back to the 19th century.