Review

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

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”