Two scientists from London’s Natural History Museum will be assisting NASA’s team in their research about the potential for past life on Mars.
The protest balloon, which depicts the outgoing US president as a disgruntled infant, has toured the world since it was unveiled in 2018.
After the mural appeared on the for-sale home, its owners swiftly took the house off the market to consider their next steps.
Serpentine Galleries’ “Future Art Ecosystems” emerges as an odd but occasionally insightful case study of the impact of the broader institutional shift to the digital realm.
Cosmic Dancer casts Clark as an artist who refuses to be pinned down by a single discipline or style, though its kaleidoscopic approach occasionally loses sight of Clark himself.
“Empire and Collecting,” a new self-guided tour, reflects an attempt to help visitors understand the colonial origins of the collection.
Unveiled just ahead of the holiday, Chila Kumari Singh Burman’s installation is sure to leave Londoners with a sense of warmth and light amid the gloomy winter months.
Not Without My Ghosts demonstrates the way mediumistic art practices unsettle the narratives of Modernism, specifically in relation to automatism and the development of abstraction.
With Mangrove, Lover’s Rock, and Red, White and Blue, McQueen’s Small Axe anthology emphasizes resilience and collective strength.
Julian Assange is facing 17 espionage charges and one charge of computer misuse.
With Bloom, Trevor Paglen collapses distinctions between the real and virtual, laying bare the prejudices embedded in supposedly objective artificial intelligence systems.
Hito Steyerl, Michael Rakowitz, and Forensic Architecture are among 300 signatories asking Tate to reconsider cutting 313 jobs in its shops, cafes, and restaurants.