I came to Herstory hoping to see depth, guts, the ambition and potency of “The Dinner Party” and instead found nothing but surface.
In Wynnie Mynerva’s The Original Riot, Eve and Lilith make a pact using Eve’s right rib, vowing to create a new world absent of patriarchal subjugation.
In Mutu’s artistic universe, the human body, particularly the female or femme form, is a container for many possibilities.
Through regional music and dance Bárbara Wagner and Benjamin de Burca affirm as well as explore and subvert Brazilian identity.
Kapwani Kiwanga invites viewers to look with only the quiet glow of natural light seeping in through the skylights, illuminating a nuanced way of seeing race.
Colescott’s use of stereotypes and humor continues to make viewers feel uncomfortable because it jabs indelicately at our complicity.
Doreen Lynette Garner renders flesh in silicone with unforgiving realism, representing the pathology of colonialism, slavery, and white supremacy.
It’s unclear how “Acer,” as the anonymous artist is known, evaded the museum’s security officers and surveillance cameras
A foremother to young new media artists working today, Hershman Leeson has blazed a trail for more than five decades.
Confronted with a new national consciousness around racial inequity, two New York City art exhibitions focus on mourning with varying degrees of success.
A prophetic document of our time, the New Museum exhibition calls attention to the weight of Black death not because it is new or salacious but because it remains urgent.
Art collector Seth Stolbun stepped down from the board of Rhizome, a New Museum affiliate, after a report revealed accusations of workplace harassment and unhealthy work conditions at the museum.