In Otherwise Obscured, effacement, redaction, and illegibility are positioned as tactics that artists can employ to combat, highlight, or heal sociopolitical invisibility.
Having 40 years of Holzer’s work in one place means it’s possible to trace lines of activity that are subtler and more poetic than the broad strokes she’s most known for.
A group show featuring the likes of Jenny Holzer and Harun Farocki frames the dystopian world of 1960s British TV show The Prisoner as a harbinger of 21st-century surveillance capitalism.
Everything Is Connected: Art and Conspiracy spirals through 50 years of paranoia in America from JFK’s assassination to extraterrestrial touchdowns and September 11. But what does that even look like?
A new transit center filled with on-site public art opens in San Francisco.
The primary takeaway of Brand New at the Hirshhorn is its demonstration of how high the stakes of representation became during the 1980s, a decade of proliferating imagery and technology.
A year of truth-telling and electric painting.
P.P.O.W.’s exhibition is perfectly timed to dig into the rich seam of madness at the heart of our present cultural and political moment.
On May 28, Building 6, a three-story structure that was renovated by architecture firm Bruner/Cott, opened on the museum’s industrial campus and doubled its gallery footprint.
It makes sense, at this most critical moment, to take a serious look at the art of the 1980s, its political fury and layered poetics, as an anchor in the storm.
When going too far is barely enough.
LOS ANGELES — The current show at Sprüth Magers gallery, Eau de Cologne, has a title that might seem like a play on words (that’s what I initially thought), but it is actually quite straightforwardly unironic.