Speculations about climate change by an array of artists feel eerily probable, if not already real.
Maybe a sense of belonging is a thing of the past, a sign of privilege.
Tammy Nguyen’s inspired reinvention of the myth of Narcissus occupies a world apart from Ha Ninh Pham’s slightly demented vision of a parallel universe.
In Hà Ninh Pham’s drawings, a building could be a prison or a torture chamber, but there is nothing about the edifices that might indicate their function.
Just because most museums in America are still asleep at the wheel, it doesn’t mean all is lost.
How do persons of color get into the history of painting after it has excluded them?
The challenge for younger artists — particularly ones of color like Tammy Nguyen — is this: do you accommodate yourself to the marketplace, or do you find another way?
The artist’s exhibition, on view through March 26, centers on an endangered species of monkeys in Vietnam and a US military document from 1969.