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)

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