Review

Misha Ilin’s Fossilized Fragments, Surreal and Shimmering

Gabriela Salazar’s Diaristic “No Shoulder”

“I’ll Be Your Mirror”: A Group Show at Zepster Gallery Looks Inward

The Bare Decadence of “Bad Girls”

Monstrosity as Symptom in Celine Song’s “Family”

“Harmony and Dissonance” Opens at the Guggenheim Museum

Naomi Nakazato Conjures Forgotten Futures at Olympia

Paul Schrader Doesn’t Believe in the Future

Kibong Rhee’s Misty Landscapes Reveal Hidden Shadows

Are You Alone Right Now?

War, Women, Whimsy: Lucky Breaks Examines Ukraine’s Wartime Trauma

Thomas McDonell’s Aesthetic of Motion and Impermanence

Maris Van Vlack’s “Time Warp” Teaches Us About Ourselves

Feast Your Eyes: “Artists and Recipes” at Marvin Gardens

Blood, Hands, and Mannequins: A Group Show at GHOSTMACHINE Explores Unbound Bodies

“The Outline of Her Words”: Where Myth Meets Memory

When It Rains, It Pours: Queer Hilarity in “Vile Isle”

Diminishing (Lost Hair Clogs Drain)

Motohiro Takeda’s Garden of Time

Scratchy and Gritty, Pauline Rintsch’s Figurative Work Explores Interiority

Walking Around Covered in Magnets

BlackStar Celebrates Filmmaking from the Global Majority

Betty Tompkins’ P.P.O.W Exhibition Recontextualizes the Female Body

Curatorial Deviations

Music for the Eyes: “Crafting the Ballets Russes” at the Morgan Library & Museum

The Conflict Between Endless Possibilities and Reality

Paula Modersohn-Becker Is

Tomás Gómez Bustillo Captures the Magical and the Real

Gender, Nation, and Photography

Emily Strasser Speaks the Unspeakable