The director’s collages hold the same kind of sly humor, quiet dread, and concise observations as his films.
With his recent works on linen, Joe Lewis plies the idea of moving human bodies regarded as contraband via the surveillance network of the state.
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.
Julieta Aranda’s latest work on view at the James Fuentes gallery, has the patina of social significance and discernment.
MIAMI BEACH — Though its space has been downsized by roughly 20% this year, NADA Miami Beach 2015 still manages to cut through the swarms of largely uninspired and secondary market Miami Art Week fairs with its distinctive presentation of less polished, more experimental work — which sometimes seems too rough to sell but gets right to the gut of process-based art-making.