Poesis Shaped in Neon: Anne Katrine Senstad’s “Baroque Apocalypse”

April 3, 2026

Natasha Chuk

“On Other Terms”: In Conversation with Jaejoon Jang and Pap Souleye Fall

April 5, 2026

Connor Sen Warnick

I See Something in the Sky

February 23, 2026

Will Heinrich

Editors’ Selects: March 2026

March 15, 2026

Editorial Team

editors' selects

affordable art fair collectors

Marked Land

IMPULSE Forum @ GRIMM

Video

Face to Face: March 2026

Scene Missing, Still Sounding

Editors’ Selects: February 2026

From My Institution to Yours*

Face to Face: January 2026

Quantum Implications for Corruptible, Fascist Slop Systems

Annalise June Kamegawa

Amy Ching-Yan Lam: “83% Perfect”

America’s Cuba in Coco Fusco’s “Tomorrow, I Will Become an Island”

Eat Me: Itala Aguilera’s “Tierra Mojada”

THE STRIPPER AND HIS TANK: In conversation with Dahlia Bloomstone

Editors’ Selects: November 2025

Performing at Art Basel Paris

Art as Place: Chiharu Shiota’s “Two Home Countries”

Amiko Li’s Ouroboros of Motion and Stillness

Jiayin Flora Song

Computer Dreams: On Information and Images

The Anti-Image in the Age of Visual Noise

Editors’ Selects: July 2025

Editors’ Selects: June 2025

HELLO ETERNAL LOVING PRESENCE

Gregory Kalliche’s “Anvil”: a Digital Gesamtkunstwerk

Yonatan Eshban-Laderman

Claudia Hart’s Rhythms of Deferral and Renewal

From Surfing to Sinking in the Internet: Yehwan Song

Carolyn Lazard’s Simulated Reality

Lili Rebeka Toth

Coralina Rodriguez Meyer on Reclaiming Memory

Beyond the Loop: “Strata” Simulates the Infinite

Xuezhu Jenny Wang

Fugitive Forms and Fading Memories in Joan Jonas’s “Empty Rooms”

Theodora Bocanegra Lang

My Flight Was Magnificent, but Futile

Amanda SRGE_Lindsay

Ephemeral Encounters

Xuezhu Jenny Wang