Claudia Hart’s Rhythms of Deferral and Renewal

Unmaking the City

Editors’ Selects: New York Art Fairs

Standout Booths at Frieze 2025

Standout Booths at the Independent Art Fair 2025

Review: “Sehnsucht (Longing)” at YveYANG Gallery

Jan Dickey: “The High Collapse”

The Land and Its Shadow

The Heart of “Metropoli”

From Surfing to Sinking in the Internet: Yehwan Song

Carolyn Lazard’s Simulated Reality

Review of vanessa german’s “GUMBALL”

Ramón Saturnino: “Aquí no es así”

Editors’ Selects: April 2025

Familiars Dance Among the Inverted

Sealed Spirits

Outside the Box

Review: While Being Plasmic Membranes

Eroding the Nature-Culture Divide

Double Vision

Veils of Velvet: Decoding Lior Modan’s Reliefs

Something Like

Troy Montes Michie: “Black on the Face of the Moon”

A Thousand Kisses Deep: Joyce Wieland at MMFA

Archive and Absence: Ohan Breiding

Hong Kong Art Week 2025 Recap

Review of Jacob Jackmauh: “Admissions”

Terran Last Gun’s Eternal Ledger Drawings

Tavares Strachan’s Energetic Interrogations

Review: Chronicles of the Absurd

Fugitive Forms and Fading Memories in Joan Jonas’s “Empty Rooms”

Object Lessons

Placemaking through Painting: Mirdidingkingathi Juwarnda Sally Gabori at Karma

Separating the Art from the Artist

Le’Andra LeSeur and the Eternal Ephemerality of Suspension

Images Across the Veil: Tyler Mitchell

Thiang Uk’s Contradictions in Harmony

Abstracting the Everyday

Porcelain and Power: The Female Body in Jessica Stoller’s “Split”

My Flight Was Magnificent, but Futile