Arts

Chryssa, it turns out, did everything that the famous Pop and New Media artists did, simultaneously or, in some instances, first.

The artist’s latest show belongs in the toilet — and that’s exactly where he put it.

Bruno Catalano’s bronze figures are a devastatingly hyper-literal and heavy-handed interpretation of loss.

At Tribeca’s trendy Spring Studios, I found an art fair in denial.

The fair may be geared toward the collector rather than the casual fairgoer, but its wild mix of genres makes it unique.

Artists and art workers reflect on the maternal figures in their lives, on being mothers, and on the many layers of a universally beloved and misunderstood figure.

The pair work in tandem across coasts to craft hilarious yet moving portraits of criminals including Sam Bankman-Fried, Elizabeth Holmes, and Anna Delvey.

At Appleton Farms, a new installation provides endangered bobolinks a secure place to nest, affirming a sense of human agency in the face of ecological loss.

A group exhibition by BravinLee Programs pushes the boundaries of the already open-ended medium through more than 100 works.

This week, Audubon bird prints, the meaning of “Indigenous,” Met Gala responses, Zadie Smith roasted, backlash to iPad ad, and more.

Across multiple media, USC art students’ works paired meditations on discomfort, isolation, and technology with an impressive aesthetic rigor.

“Working in a space that is somewhat detached from the confines of time allows me to create and solely place my focus on my art.”

As seen at Ridgewood Open Studios, a wide array of art, galleries, and studio spaces nestle in the crevices of this Queens neighborhood.

A new show at the Menil Collection in Houston raises important questions about the ways that we remember and historicize artists.

The artist’s exploration of counter-narratives in Turkey plays with the tension between representation and manipulation that is inherent in image creation.

What role can art play in helping us understand a time of great chaos and what role can national pavilions play in a time when nation states are ever present?

Artworks by the students feel delightfully provisional, like statements of intent toward unrealized future creations — but no less meaningful.

That ’70s Show and Esther are not only authentic community builders, but become visual collective memories thanks to their theme and scale.

Sci-fi, absurdism, and surrealism shine in this show, where the best works rely on pure imagination.

The strongest galleries convey a sense of locality, often of Indigenous communities, with a particular sensitivity to environmental issues.