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
Gallery
Gut Feelings
Interview
By
Xuezhu Jenny Wang
|
Feb 27, 2025
Who is the hunter, who is the prey?
Review
By
Lili Rebeka Toth
|
Feb 26, 2025
ILY2 Gallery Works from the Inside Out
Interview
By
Colleen Rodgers
|
Feb 23, 2025
Sagarika Sundaram on the Alchemy of Fiber
Interview
By
Shreya Ajmani
|
Feb 21, 2025
Pictures of Faces: A Conversation with Na Kim
Interview
By
Marcus Civin
|
Feb 19, 2025
Hey! We Can Do It!
Review
By
Xuezhu Jenny Wang
|
Jan 28, 2025
Symbiosis: A Conversation with Alicia Adamerovich and Christopher Daharsh
Interview
By
Xuezhu Jenny Wang
|
Jan 28, 2025
Reclaiming Distorted Archetypes: THE BOYS CLUB (Redacted)
Review
By
Emma Thibodeaux-Thompson
|
Jan 6, 2025
“Cult of Domesticity” at LUmkA
Review
By
Xuezhu Jenny Wang
|
Dec 29, 2024
“There is only one try”: An Interview With Hyun-Sook Song
Interview
By
A.E. Chapman
|
Dec 22, 2024
Tactile Oppositions in Linda Stark’s “Ethereal Material”
Review
By
Corinne Worthington
|
Dec 21, 2024
New Uncanny’s Haunting Reveries
Review
By
Xuezhu Jenny Wang
|
Dec 19, 2024
Peter McGough: “Alphabet”
Review
By
Alyssa Monte
|
Dec 14, 2024
Shiwen Wang: “The river returns nothing of what it takes”
Interview
By
Qingyuan Deng
|
Dec 12, 2024
Abject Feasts and Eucharistic Lovers at MAMA Projects
Review
By
Emma Fiona Jones
|
Dec 11, 2024
Reinventing Entanglement: Lulu Luyao Chang’s “Little Knots in My Hair”
Review
By
Cynthia Chen
|
Dec 9, 2024
Tim Noble’s “Happy Land” Incites Raw Subjectivity
Interview
By
Xuezhu Jenny Wang
|
Dec 5, 2024
Francis Newton Souza “Straddles Several Traditions but Serves None”
Review
By
Meinzer
|
Nov 29, 2024
Gabriela Salazar’s Diaristic “No Shoulder”
Review
By
Colette Bernheim
|
Nov 27, 2024
“I’ll Be Your Mirror”: A Group Show at Zepster Gallery Looks Inward
Review
By
A.E. Chapman
|
Nov 16, 2024
The Bare Decadence of “Bad Girls”
Review
By
Emma Fiona Jones
|
Nov 16, 2024
New York Is More Alive Than Ever, NOW!
Review
By
Sophie Steinberg
|
Nov 14, 2024
Yongqi Tang’s Visceral Paintings of Violence and Healing
Interview
By
Clare Gemima
|
Nov 10, 2024
Intimacy as Theoretical Framework at Iowa
Review
By
Theodora Bocanegra Lang
|
Nov 9, 2024
Naomi Nakazato Conjures Forgotten Futures at Olympia
Review
By
Emma Fiona Jones
|
Nov 7, 2024
From Night to Day: Concordia Studio Explores the Passage of Time Through Landscape
Interview
By
Montserrat Miranda Ayejes
|
Nov 5, 2024
Kibong Rhee’s Misty Landscapes Reveal Hidden Shadows
Review
By
Samantha Jensen
|
Oct 31, 2024
Are You Alone Right Now?
Review
By
Sterling Corum
|
Oct 29, 2024
Untangling Feeling: Kati Gegenheimer’s Passages
Review
By
Leah Triplett
|
Oct 29, 2024
Standout Booths at Art Toronto 2024
Review
By
Lodoe Laura
|
Oct 27, 2024
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