Review

Placemaking through Painting: Mirdidingkingathi Juwarnda Sally Gabori at Karma

Le’Andra LeSeur and the Eternal Ephemerality of Suspension

Images Across the Veil: Tyler Mitchell

Teresa Solar Abboud: “Tu sombra sustituida”

Killing the Womanly Parts: NAATCO's Gender-Bending “Cymbeline”

Editors’ Selects: March 2025

Shifting /\ Gazes Defines Space

Review of Anne Imhof’s “DOOM: House of Hope”

Stripping Down to Our Hair at 601Artspace

Amazons. The Ancestral Future

Who is the hunter, who is the prey?

Two Tales of a City

Tim Brawner’s Strange Twist

Anagrams of Desire

Book Review: “The Lives of the Artists”

Hey! We Can Do It!

Yolanda Yang Scratches Deep Below the Surface of Grief and Art

Building Worlds at the Brooklyn Museum

“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”

In 2014’s “The Interview,” Amnesia is a Privilege

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

Reinventing Entanglement: Lulu Luyao Chang’s “Little Knots in My Hair”

Francis Newton Souza “Straddles Several Traditions but Serves None”