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

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)