Queerness and desire take center stage in the most recent exhibition of work by the Studio Museum in Harlem Artists-in-Residence.
We know precious little about the painter’s life, and we know even less about his work’s meaning. A new book argues that the artist wanted it that way.
Las Carpetas takes a crucial step in exposing the surveillance of activists. But are pictures of folders the most effective way to tell the stories of people impacted?
Banhart’s first solo show in Los Angeles is at turns intimate and grandiose.
The 1Shanthiroad Cookbook does more than stoke nostalgia, hinting at the politics that touch the growing, trading, cooking, and eating of food in India and beyond.
Equally intuitive and intellectual, Bley’s paintings redirect a time-honored form of abstraction into a more communal, cosmic unknowing.
Dwelling somewhere between abstraction and figuration, Hodges’s impressionistic paintings enact a critique of rugged individualism.
With their Fauvist hues and Pop-inflected renderings, Angus’s drawings and paintings, made amid the AIDS crisis, intrinsically queer the Western canon.
“The Black Index” at UC Irvine pursues knottier narratives of self-representation.
The new book by Kimberly Drew and Jenna Wortham considers an urgent question: “What does it mean to be Black and alive right now?”
A collaboration between We Buy Gold and Orange Barrel Media, Walls for a Cause NYC presents a safer, yet still poignant opportunity for art viewing.
At Company Gallery, a meditative exhibition dedicated to queer desire invites viewers to sit with tension.