Women at War exposes the struggles that women of Eastern Europe have been undergoing for the last 60 years, in addition to the annihilation of Ukrainian heritage.
An exhibition of Ambrose Rhapsody Murray’s collages of textiles and sequins seek to capture the essence of her Black women figures as spirits.
Graves spent nearly 40 years investigating the healing potential of music.
Here are Black bodies in motion which Lewis freezes in time to remake into patterns of overlapping leaves or the stars of shrunken constellations.
In the hate-convulsed worldscape of today, Heather Dewey-Hagborg proposes oxytocin as that long looked-for potion: The Love Drug.
Katchadourian excels at investing commonplace, inanimate objects with vitality and soulfulness.
Nina Katchadourian remixes on-hold music for a dance party at the Fridman Gallery.
While in prison, Manning mailed cheek swabs and hair clippings to artist Heather Dewey-Hagborg, who used them to algorithmically generate portraits.
Over the course of 25 hours, Abigail Levine will collaborate with sound designer Dave Ruder to create the 3,744 lines of a LeWitt drawing at Fridman Gallery.
First performed in 1965, Robert Whitman’s “Prune. Flat.” contrasts cinematic images with live performers to create its own kind of theater.
The first large-scale art and technology collaborations that occurred in the United States are not as legendary as, for example, the 9th Street Show that launched the New York School of Abstract Expressionism, but they should be.
The exhibition offers an unusual and surprising amount of pleasure: it’s delightful to see these objects and the dancers, as though they were at play, all linked together in their absurdity.