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
Masculinity at War: Austin Alphonse’s Glorious Struggle
Interview
By
Qingyuan Deng
|
Oct 25, 2024
Devotions and Migration: In Conversation with Miguel Martinez
Interview
By
Francisco Donoso
|
Oct 25, 2024
Growing Pains: Where Street Art and the Gallery Collide
Review
By
Meinzer
|
Oct 20, 2024
Thomas McDonell’s Aesthetic of Motion and Impermanence
Review
By
Xuezhu Jenny Wang
|
Oct 17, 2024
Dinner with ORLAN, a Feminist Icon
Interview
By
Anna Mikaela Ekstrand
|
Oct 12, 2024
Maris Van Vlack’s “Time Warp” Teaches Us About Ourselves
Review
By
Colette Bernheim
|
Oct 10, 2024
Nietzsche in a Downtown Supply Store
Review
By
Katia Vanlandingham
|
Oct 4, 2024
False Dawn: Nazanin Noroozi on Creating Emotional and Psychic Space
Interview
By
Francisco Donoso
|
Sep 30, 2024
Blood, Hands, and Mannequins: A Group Show at GHOSTMACHINE Explores Unbound Bodies
Review
By
A.E. Chapman
|
Sep 26, 2024
“The Outline of Her Words”: Where Myth Meets Memory
Review
By
Katya Borkov
|
Sep 24, 2024
Lucy Liu on Supporting Emerging Talents and Alternative Spaces
Interview
By
Clare Gemima
|
Sep 23, 2024
Bandaged Moments: In Conversation with Xiaojing Zhu
Interview
By
Meinzer
|
Sep 22, 2024
Motohiro Takeda’s Garden of Time
Review
By
Emma Thibodeaux-Thompson
|
Sep 22, 2024
The Party’s in the Back
Review
By
Waltpaper
|
Sep 13, 2024
“Binary Equilibrium” Luxuriates in Polarity
Review
By
Zara Roy
|
Sep 12, 2024
Michael Wang Challenges Visions of a Nuclear Future
Review
By
Colleen Rodgers
|
Sep 6, 2024
Serene and Grounded, Tony Huynh’s Paintings Depict Summertime Memories
Review
By
Kylia
|
Aug 27, 2024
To Leave More Than A Trace
Review
By
Xuezhu Jenny Wang
|
Aug 21, 2024
Image, Object, and Compression with Asher Liftin
Interview
By
Parker Ewen
|
Aug 13, 2024
Scratchy and Gritty, Pauline Rintsch’s Figurative Work Explores Interiority
Review
By
Katia Vanlandingham
|
Aug 12, 2024
Betty Tompkins’ P.P.O.W Exhibition Recontextualizes the Female Body
Review
By
Colleen Rodgers
|
Aug 6, 2024
The Feminine and the Posthuman: “Fembot” at The Hole, Tribeca
Review
By
Xuezhu Jenny Wang
|
Aug 5, 2024
“Paper Cuts” at Elza Kayal Gallery
Review
By
Xuezhu Jenny Wang
|
Aug 3, 2024
Curatorial Deviations
Review
By
Meinzer
|
Aug 2, 2024
Messages in Flight: “Function–Fiction” at GOBI
Review
By
Lisa Kwon
|
Jul 28, 2024
A Letter Home with Paul Rho
Interview
By
Zara Roy
|
Jul 25, 2024
Eva Hesse: Five Sculptures
Review
By
Alex Wexelman
|
Jul 22, 2024
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