From art about environmental recklessness to Caribbean post-coloniality, Armory kicked off the spring art fair season in spite of growing coronavirus concerns.
Questions of privilege aside, the range of abstract works reminded me how artists are providing nuanced ways of thinking about identity that move beyond exclusion/inclusion binaries.
After Safariland, if you need to convince yourself that the art world isn’t entirely in money’s thrall, you’d want to be anywhere but here.
Delirious at the Met Breuer is an exhibition filled with beautiful but comparatively polite works by habitually transgressive artists.
The exhibition at Invisible Exports, Cheap Suitcase, reflects on how the body is a record of a singular life, but also a random palimpsest of whatever genetic heritage one has.
Their only solution was to make their revolution their own way, without help and without precedent.
In the small foyer of the 8th Floor gallery, a video shows artist Carmen Papalia with a bullhorn in place of a cane — Papalia, who is blind, beckons those who pass him as he strolls the sidewalk of a busy Vancouver street, making a public declaration of his need to cross.
LOS ANGELES — Hauser Wirth & Schimmel, the local outpost of mega-gallery Hauser & Wirth, will open its massive hybrid art space to the public on Sunday.
The inaugural exhibition at the new Whitney Museum is not perfect, but it is pretty damn good.
Walking through In the Studio: Photographs, a three-part show organized by Peter Galassi, former Chief Curator of Photography at New York’s Museum of Modern Art, and spread over several floors of the Gagosian empire on Madison Avenue, the underlying themes of accumulation, storage, labeling, and just plain looking remind us how artists often surround themselves with visual repertories.