Poesis Shaped in Neon: Anne Katrine Senstad’s “Baroque Apocalypse”

April 3, 2026

Natasha Chuk

“On Other Terms”: In Conversation with Jaejoon Jang and Pap Souleye Fall

April 5, 2026

Connor Sen Warnick

I See Something in the Sky

February 23, 2026

Will Heinrich

Editors’ Selects: March 2026

March 15, 2026

Editorial Team

editors' selects

affordable art fair collectors

Marked Land

IMPULSE Forum @ GRIMM

Exhibition

Feathers and Bones

Penny Yiou Peng

FLOHAUS Gallery Unveils New Space in Midtown

Colleen Dalusong

On Ownership Structures

Andreia Santana

Staring at What Is

Yonatan Eshban-Laderman

Review: “Tender Is the Night”

Leah Dixon: "Sky on the Floor"

Xuezhu Jenny Wang

Bryce Kroll on a Probabilistic System of Perception

Su-Mei Tse: This Is (Not) a Love Song

You Know You Feel Dirty. Change Yer Sheets

“Laterness” in Abstract Time

Mother Tongues: Alva Mooses & Aracelis Girmay

Violence Upended

Review: “The Time It Takes to See”

Art Mumbai: A Quick Glance and a Second Look

“I Am Still Alive”—A Tautology of Transmission

Cut Flowers Turn Towards the Midnight Sun

Rene Matic’s Silhouettes of Refusal

A City in Full Chorus: Chicago Exhibition Weekend

Quan Wenfei’s Digital Nostalgia and the Internet of Our Childhood

TO HELL WITH THE GANDER: Interview with Elbert Joseph Perez

Brand me Tender: “One in the Hand, Two in the Fold”

On Exhibition Design with Grace Caiazza

Yonatan Eshban-Laderman

Jochen Mühlenbrink’s Illusions

“No Longer Me”: Displacement Echoed in Steel and Sound

Creighton Baxter and Agnes Walden Take Us Inside Their “Mercy Clubhouse”

“002 Fusion”: A Jest in Three Acts

Mapping Self Through Sound: An Interview with Ari Melenciano

Gregory Kalliche’s “Anvil”: a Digital Gesamtkunstwerk

Yonatan Eshban-Laderman

Editors’ Selects: April 2025

Familiars Dance Among the Inverted

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