Poesis Shaped in Neon: Anne Katrine Senstad’s “Baroque Apocalypse”
April 3, 2026
Natasha Chuk
REVIEW
“On Other Terms”: In Conversation with Jaejoon Jang and Pap Souleye Fall
April 5, 2026
Connor Sen Warnick
INTERVIEW
VOICE
I See Something in the Sky
February 23, 2026
Will Heinrich
Editors’ Selects: March 2026
March 15, 2026
Editorial Team
COLUMNs
editors' selects
face-to-face
affordable art fair collectors
Marked Land
IMPULSE Forum @ GRIMM
EVENTS
ABOUT
Abject Feasts and Eucharistic Lovers at MAMA Projects
Review
BY
Emma Fiona Jones
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Dec 11, 2024
Reinventing Entanglement: Lulu Luyao Chang’s “Little Knots in My Hair”
Review
BY
Cynthia Chen
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Dec 9, 2024
BRIC’s 2024 JazzFest Marks a Decade of Discovery
Review
BY
Sterling Corum
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Dec 3, 2024
Francis Newton Souza “Straddles Several Traditions but Serves None”
Review
BY
Meinzer
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Nov 29, 2024
Misha Ilin’s Fossilized Fragments, Surreal and Shimmering
Review
BY
Nina Oleynik
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Nov 27, 2024
Gabriela Salazar’s Diaristic “No Shoulder”
Review
BY
Colette Bernheim
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Nov 27, 2024
“I’ll Be Your Mirror”: A Group Show at Zepster Gallery Looks Inward
Review
BY
A.E. Chapman
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Nov 16, 2024
The Bare Decadence of “Bad Girls”
Review
BY
Emma Fiona Jones
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Nov 16, 2024
Monstrosity as Symptom in Celine Song’s “Family”
Review
BY
Catherine Sawoski
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Nov 15, 2024
New York Is More Alive Than Ever, NOW!
Review
BY
Sophie Steinberg
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Nov 14, 2024
“Harmony and Dissonance” Opens at the Guggenheim Museum
Review
BY
Emma Thibodeaux-Thompson
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Nov 12, 2024
Intimacy as Theoretical Framework at Iowa
Review
BY
Theodora Bocanegra Lang
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Nov 9, 2024
Naomi Nakazato Conjures Forgotten Futures at Olympia
Review
BY
Emma Fiona Jones
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Nov 7, 2024
FAO’s Artful Celebration of the Amazon and the Risk of Tokenism
Review
BY
Gabriele Di Donfrancesco
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Nov 6, 2024
The Salon by NADA x The Community
Review
BY
Tahney Fosdike
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Nov 4, 2024
Paul Schrader Doesn’t Believe in the Future
Review
BY
Ben Burton
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Nov 4, 2024
Kibong Rhee’s Misty Landscapes Reveal Hidden Shadows
Review
BY
Samantha Jensen
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Oct 31, 2024
Are You Alone Right Now?
Review
BY
Sterling Corum
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Oct 29, 2024
Untangling Feeling: Kati Gegenheimer’s Passages
Review
BY
Leah Triplett
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Oct 29, 2024
War, Women, Whimsy: Lucky Breaks Examines Ukraine’s Wartime Trauma
Review
BY
Ava Sharahy
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Oct 29, 2024
Standout Booths at Art Toronto 2024
Review
BY
Lodoe Laura
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Oct 27, 2024
Growing Pains: Where Street Art and the Gallery Collide
Review
BY
Meinzer
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Oct 20, 2024
What’s Your Pleasure?
Review
BY
Ben Burton
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Oct 17, 2024
Thomas McDonell’s Aesthetic of Motion and Impermanence
Review
BY
Xuezhu Jenny Wang
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Oct 17, 2024
La MaMa Looks Inward and Beyond With Its 63rd Season
Review
BY
Zara Roy
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Oct 16, 2024
Sue Kim’s New Documentary Catches a Diluted Glimpse of Haenyeo’s Reality
Review
BY
Lisa Kwon
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Oct 13, 2024
Tina Girouard’s Enigmatic Symbols Await Interpretation
Review
BY
Theodora Bocanegra Lang
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Oct 11, 2024
Maris Van Vlack’s “Time Warp” Teaches Us About Ourselves
Review
BY
Colette Bernheim
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Oct 10, 2024
Kairos Futura Reshapes Eco-Consciousness as a Crucial Part of African Futurism
Review
BY
Chidinma Iwu
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Oct 5, 2024
Nietzsche in a Downtown Supply Store
Review
BY
Katia Vanlandingham
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Oct 4, 2024
Feast Your Eyes: “Artists and Recipes” at Marvin Gardens
Review
BY
Sterling Corum
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Sep 30, 2024
Blood, Hands, and Mannequins: A Group Show at GHOSTMACHINE Explores Unbound Bodies
Review
BY
A.E. Chapman
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Sep 26, 2024
“The Outline of Her Words”: Where Myth Meets Memory
Review
BY
Katya Borkov
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Sep 24, 2024
When It Rains, It Pours: Queer Hilarity in “Vile Isle”
Review
BY
Catherine Sawoski
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Sep 23, 2024
Diminishing (Lost Hair Clogs Drain)
Review
BY
Jacksun Bein
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Sep 22, 2024
Motohiro Takeda’s Garden of Time
Review
BY
Emma Thibodeaux-Thompson
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Sep 22, 2024
The Party’s in the Back
Review
BY
Waltpaper
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Sep 13, 2024
“Binary Equilibrium” Luxuriates in Polarity
Review
BY
Zara Roy
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Sep 12, 2024
Michael Wang Challenges Visions of a Nuclear Future
Review
BY
Colleen Rodgers
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Sep 6, 2024
Serene and Grounded, Tony Huynh’s Paintings Depict Summertime Memories
Review
BY
Kylia
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Aug 27, 2024
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