In Lee Isaac Chung’s drama, immigration should be considered through the lens of displacement and diaspora, with its characters exhibiting resilience rather than assimilation.
Centers of Somewhere proposes an understanding of Indigeneity that is hybrid, fluctuating, and always in transit.
When experienced as a portrait of the artist’s psyche alone, Upstairs at Steve’s is a piercing representation of individual grief.
Fuori proposes a reinterpretation of Italian visual arts from the 1960s to the present day, affording greater prominence to women and young artists.
Ulman’s feature debut chronicles a mother-daughter pair in post-recession Spain with a restrained style and hints of amusing deception.
Viewing Parks’s photographs in 2021 offers stark, graceful reminders of the ongoing fight for civil rights.
Much as the documentary Ailey delights and inspires, it also evokes a sense of wistfulness by privileging the choreographer’s public persona at the expense of Alvin the man.
Avenida Paulista, Milhazes’s largest survey to date, offers an engrossing overview of how the artist cross-pollinates painting and printmaking.
In Telling Stories, Robyn O’Neil, Amy Cutler, and Annie Pootoogook showcase the continued utility of this ancient art form to stunning effect.
In ALEXANDRIA, bright stripes and zigzags pop against sprawling environments, telegraphing both impressive depth and intense seclusion.
Prachakul paints friends and acquaintances who, like the artist, are part of the Asian diaspora.
Pels’s work evokes a blinking unease, posing questions about the nature of power in the arenas of sex, war, and religion.