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

Teresa Solar Abboud: “Tu sombra sustituida”

Killing the Womanly Parts: NAATCO's Gender-Bending “Cymbeline”

Editors’ Selects: March 2025

Shifting /\ Gazes Defines Space

Memory as Methodology: Ralph Lemon at MoMA PS1

The Contemporary Scope: A Painting Show at Alexander Berggruen

Visual Lineages

Review of Anne Imhof’s “DOOM: House of Hope”

Sabine Hornig: “The Matter of the Glazed Fence” at Cristina Guerra

Stripping Down to Our Hair at 601Artspace

Amazons. The Ancestral Future

Who is the hunter, who is the prey?

The SoHo Underground

Two Tales of a City