A Cubist Commission in Brooklyn at The Met is a compact, simple display, but the work and research it contains is diminished by being so cut off from its historical and personal contexts.
Two movies at the 2023 Cannes Film Festival reflect on the onscreen representation of the Holocaust after Claude Lanzmann’s landmark Shoah.
Both the tarot and Carrington’s work are in the midst of a revival that has the world re-evaluating our relationship with nature, the earth, and our place in it.
Humane Ecology at the Clark Art Institute asks viewers to consider different interpretations of nature, including those of people who have been marginalized, silenced, and erased.
Restaurants are restorative, perhaps, for those eating, but they can also be grueling places of labor that tax workers’ bodies.
The texts in Chloe Aridjis’s new collection of stories and essays unspool not via chronological order, but through the strange rationality of dreams.
By choosing the unforgiving surface of toothed paper and making irrevocable marks, Nutt enters a territory few American artists have dared to go.
All the little things we buy that look simple come from somewhere thanks to a series of interlocking, complex chains and sequences.
Upon entering Rajni Perera’s show, surprise, shock, and shortness of breath are felt.
This year’s biennial presents a powerful glimpse into relationships between the land and a vast array of entities grounded there.
The exhibition Women Defining Women at LACMA suffers from poorly defined parameters and a weak understanding of its own premise.
Experiencing Rutault’s works is like being confronted with one’s beliefs, one’s own faith in painting, or lack of it.