Tim Brawner’s Strange Twist

Ecofeminist Interleaving: Faith Wilding at Anat Ebgi

“I’m not queer, I’m disembodied”: Luca Guadagnino’s Adaptation of “Queer”

Memories That Smell like Forgetting

Anagrams of Desire

Book Review: “The Lives of the Artists”

George Condo on Politics: “Am I Gonna Be Allowed to Be What I Am?”

Home Is Where Everything Is

MoMA PS1’s Installation Fights Stigma

Ballet, Bushwick, and a Techno Party

Hey! We Can Do It!

Yolanda Yang Scratches Deep Below the Surface of Grief and Art

Building Worlds at the Brooklyn Museum

Enduring Tethers: Cecilia Vicuña’s “La Migranta Blue Nipple”

“Small Talk” Eludes Legibility and Invites Infinite Encounters

60 years ago, the Changed Ending of “My Fair Lady” Failed Eliza Doolittle

Reclaiming Distorted Archetypes: THE BOYS CLUB (Redacted)

Flux and Flow at El Museo del Barrio

“Cult of Domesticity” at LUmkA

Book Review: “Enter Ghost”

JinJin Xu: “Against This Earth, She Knocks”

Tactile Oppositions in Linda Stark’s “Ethereal Material”

The Twin Moons of Luna Luna Rise Over the Hudson

Uncertain Afterlives: Anicka Yi’s “There Exists Another Evolution, But In This One”

New Uncanny’s Haunting Reveries

Peter McGough: “Alphabet”

Abject Feasts and Eucharistic Lovers at MAMA Projects

Reinventing Entanglement: Lulu Luyao Chang’s “Little Knots in My Hair”

BRIC’s 2024 JazzFest Marks a Decade of Discovery

Francis Newton Souza “Straddles Several Traditions but Serves None”

Misha Ilin’s Fossilized Fragments, Surreal and Shimmering

Gabriela Salazar’s Diaristic “No Shoulder”

“I’ll Be Your Mirror”: A Group Show at Zepster Gallery Looks Inward

The Bare Decadence of “Bad Girls”

Monstrosity as Symptom in Celine Song’s “Family”

New York Is More Alive Than Ever, NOW!

“Harmony and Dissonance” Opens at the Guggenheim Museum

Intimacy as Theoretical Framework at Iowa

Naomi Nakazato Conjures Forgotten Futures at Olympia

FAO’s Artful Celebration of the Amazon and the Risk of Tokenism