In The Trials of the Golden Rat, Patrick Duegaw recasts Hercule’s feats as the troubling behavior of a powerful man, reframing his targets through the guise of powerful women standing up for themselves.
“Unions Renewed” explores the changing role of organized labor under financial capitalism. It maps meaningfully onto the arts.
Reverberating through the Pulitzer’s iconic building, Adkins’s works carry the potential of sound, and remain alluring even in silence.
The influential collective created a rigorous yet non-hierarchical sphere of influence, which challenges the very tidiness of retrospectives like Working Together.
Contrary to the laconic distance experienced among Eisenman’s works, Boadwee’s radiates a frenetic energy that stimulates the senses.
The Haunting of Lin-Manuel Miranda deconstructs the Broadway play’s abolitionist portrayal of the founding father with incisive, impeccably-researched satire.
At the Palais de Tokyo, mounting an exhibition loosely about infection, during a pandemic, presents its challenges.
Starring Omar Sy, the French Netflix series Lupin is a delightful crime thriller.
Revised and expanded, The Art of Pixar gathers color scripts from the studio’s short and feature films, mapping out the emotional beats of each story in lush hues.
Though it occasionally stumbles, the first iteration of We Do Not Dream Alone signals a promising commitment to prolonged investment in art from the Asian diaspora in New York.
Shot in 1967, Lyon’s photographs offer a more nuanced and human perspective of the destruction of the old lower Manhattan, one that is often paved over by history books.
In Shame Space, the narrator obsesses over sex, money, fitness, drugs, friends, work, and self-hatred.