Arts

In Not Cool but Compelling, the artist’s works churn with the turmoil of life, like emotions sketched in real time.

Pauline Decarmo’s triumphant canvases, Mary Lucier’s sun-seeking video installation, Edward Merritt’s recycled botanics, Dani Klebe’s country cabin installation, and more.

Some of the Louvre’s most famous works inspired a series of half-submerged installations for the Olympic games.

Styling Identities pushes the boundaries of museum display to incorporate local communities and global art through the theme of hair.

The Haas Brothers’ witty functional sculptures alluding to ecology proffer an environment that is knowingly — and laughably — unrealistic.

Lila de Magalhaes’s fornicating insects, Kyungmi Shin’s excavation of the so-called “Orient,” the late Steve Roden’s genre-bending work, and so much more.

The late artist’s work subverts the genre’s conventions in its centering of the gay community members he knew or admired and the LGBTQ+ spaces he frequented.

Two shows cast a critical eye on our fantasy of nature as it crashes up against the realities of the world we humans have created.

Enzo Lefort’s stylized portraits of his teammates are now on view alongside works by other Olympian artists in Paris.

This week: The Bushwick aesthetic goes global, common misconceptions about the Palestinian keffiyeh, Edna Mode is brat, and who can really walk on water?

“When working outside, en plein air, I wake up with a mission.”

The artist’s continued retrofitting of ideas has led to a body of work that feels sustained, powerful, and continually defiant of categorization.

The Real Thing at the Met Museum shows that the advertising tactics of commercial studios were in dialogue with avant-garde art in the 1920 and ’30s.

Buoyed by the beautiful weather, a constant stream of visitors showed up eager to learn about a cultural scene that continues to grow.

The meme has quickly gone from ironic to iconic, and the Harris campaign is riding that wave like its life depends on it.

Scholder, who called himself a “non-Indian Indian,” refused to conform to expectations and rejected limiting definitions of his identity as Native American.

The John Rowland Mansion is now open to the public with site-specific contemporary artworks centering access and found materials.

An exhibition explores touch, from the possessive love of a mother holding her child to the violent and coercive contact that sometimes takes place between strangers.

The triennial maps what it means to be an artist from here, from somewhere else but now living here, or from here but living somewhere else.

An algorithm organizes a unique ordering of scenes for each screening, meaning there are millions of versions of the film.