Review

“I Am Still Alive”—A Tautology of Transmission

Opaque Intimacies

Kids, don't run around the patio. It will seem bigger.

Cut Flowers Turn Towards the Midnight Sun

Earthly Intelligence in the Desert

Rene Matic’s Silhouettes of Refusal

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

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

Jochen Mühlenbrink’s Illusions

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

“002 Fusion”: A Jest in Three Acts

A Clown Walks into the Crowd

Lipstick Traces: Taylor Mac's Satire Takes the Hand of Philanthropy in Its Teeth

BBBBBBBRYAN: Anti-Language, Anti-Painting

Gregory Kalliche’s “Anvil”: a Digital Gesamtkunstwerk

Face to Face: May 2025

Review: “Sehnsucht (Longing)” at YveYANG Gallery

Jan Dickey: “The High Collapse”

Editors’ Selects: April 2025

Familiars Dance Among the Inverted

Outside the Box

Review: While Being Plasmic Membranes

Something Like

A Thousand Kisses Deep: Joyce Wieland at MMFA

Review of Jacob Jackmauh: “Admissions”

Tavares Strachan’s Energetic Interrogations

Review: Chronicles of the Absurd

Object Lessons

Placemaking through Painting: Mirdidingkingathi Juwarnda Sally Gabori at Karma

Le’Andra LeSeur and the Eternal Ephemerality of Suspension