Ryan Mrozowski has double vision.
Salman Toor’s insular scenes of life in Pakistan have vanished.
Half a century ago, many Native American artists trying to break into the fine art market were told that their oil paintings would never sell because they were not recognizably “Indian” enough.
Buildings, in New York City especially, are so overwhelmingly big that they can sometimes seem to occupy our space and not the other way around.
PYT Burger, a fancy new joint on Bowery in Manhattan known for its “stunt burgers,” is hoping Basquiat’s name will help sell a $64 burger. It’s enough to make a starving artist cry.
Stepping into the fantastical world of I won’t wait for grey hairs and worldly cares to soften my views is like going through a portal, entering a delirious space of a collective dream.
The 2015 Armory Show is barely two months cold, and already another art fair week is upon us.
A golden reindeer gallops across a vast checkerboard while a grotesque UFO flies overhead.
Artists Liene Bosquê and Nicole Seisler are roaming the streets of the Lower East Side in April with a cart full of clay, ready to be pressed by willing hands onto the built environment.
Swiss installation artist Zimoun, who specializes in immersive soundscapes and acoustic architecture, has seemingly turned all of New York into a giant aural installation.
The New Museum’s third triennial, Surround Audience, is not nearly as immersive as its title suggests, and it sabotages many of the most conventional two-dimensional and sculptural works on view.
Brennan Gerard and Ryan Kelly have brought politicized pole dancing to the New Museum.