Opinion
Celebrating Seder at Columbia’s Gaza Solidarity Encampment
The student protest was a most fitting setting for a peaceful, focused, and deeply moving Passover seder.
Opinion
Opinion
The Miscarriage Collages That Were Too Much for the Art World
In 1974, the San Francisco Art Institute isolated Joanne Leonard’s series Journal of a Miscarriage from the rest of the works in her solo show. Has anything changed since?
Opinion
Why the Vessel Should Remain Closed for Good
It’s time to acknowledge the Hudson Yards staircase sculpture for what it has become: a memorial.
Opinion
Faith Ringgold Paved the Way
The late artist fiercely reckoned with the status quo, leaving the art world better than she found it through a rich legacy of Black feminist activism and artmaking.
Opinion
My Grandma's Doilies Are Not a Joke
When will art institutions finally pay respect to our foremothers’ artistry?
Art
You Can't Corgi-Wash Queen Elizabeth's Colonial Legacy
The peoples crushed under British imperialism might not find Hywel Pratley's tribute to the late monarch and her dogs so endearing.
Opinion
Scratching Beneath the Surface of Identity-Based Group Shows
While Asian-American Art may be "plagued by generational amnesia," as Sharon Mizota wrote for Hyperallergic, the artists and curators of Scratching at the Moon are definitely not.
Opinion
Israeli Chutzpah at the Venice Biennale
Perfectly timed for maximum press attention, the performative closure of the country’s pavilion is opportunistic and cynical.
Opinion
Stop Calling the Whitney Biennial “Safe”
Art-world people love lobbing this low-hanging critical fruit at the exhibition. This year especially, the moniker is ill-fitting and glib.
Opinion
Should I Trust My Art Dealer?
A look at the failed, racially charged takedown of dealer-activist Amar Singh.
Opinion
How the Andy Warhol Museum Lost Its Way
Thirty years after its founding, the Pittsburgh institution still hasn’t defined a role for itself.
Opinion
Who the Hell Came Up With an Artemisia Gentileschi "Rape Room"?
An exhibition at the Palazzo Ducale in Genova trades a celebration of the pioneering artist’s opus for a violent spectacle.