Arts

The artist’s sprawling exhibition at the New York Botanical Garden in the Bronx asks visitors to reflect on beauty, history, climate, and uncomfortable truths.

This month: Dan Levenson, Rachel Martin, Sonia Romero, responses to the Feminist Art Program of the 1970s, and more.

“In Varo’s work there is often a sense of geographic travel, but also a sense of traveling down material pathways that no one has ever looked at before,” says curator Caitlin Haskell.

Launched in 1962, the Micmac Indian Craftsmen collective designed notecards, tapestries, porcelain, and other objects that gained a worldwide audience.

Nordström creates compelling architectural “portraits” of the city by including the real stuff of life, like electric boxes, water damage, and rusting metalwork.

This month: Henry Taylor, Barkley L. Hendricks, Carlos Villa and Leo Valledor, Cecilia Paredes, and more.

The 39 artists and collectives in the sixth edition of the Hammer Museum’s show call LA home but make visible legacies of migration that have built and shaped the city.

Once Carlos Villa and Leo Valledor recognized that they could never fully assimilate into mainstream America, they set out on their own paths.

This season, speculative futures and collective histories with Faith Ringgold, Candace Hunter, Carlos Cortéz, Remedios Varo, and others.

Amber Cowan’s entrancing sculptures share the spotlight with antique objects, illuminating the history and enduring possibilities of American glass art.

Betye Saar, Barbara T. Smith, Teddy Sandoval, emerging talents, and much more.

Steven J. Yazzie and Patrick Dean Hubbell dismantle blatant distillations of Native visuality for profit that continue to commit and perpetrate harm against Indigenous artists and communities.

This week, satellite images capture lines of cars carrying Armenians fleeing Nagorno-Karabakh, an Ethiopian painting looted by the British Museum, digitizing Urdu script, and much more.

Mario Schifano moved nimbly among different modes and never settled into a style, which sets him apart from many of his contemporaries.

When White-dominated arts institutions would not offer them opportunities, Robert L. Douglas and other Louisville Black artists organized together to create their own art communities.

Her work brilliantly reframes age-old storylines from a Persian cookbook as modern allegories for female liberation.

The artist’s solo exhibition Heaven on Earth is a fluorescent floral feast for the eyes.

Two colossal inflatable sculptures by the Winnipeg-based artist prod the colonial roots of economic and racial inequality in the country.

Titled Now and Forever, the new designs honor the ongoing pursuit for racial equality in a country built on systemic oppression.

Art for the Millions at the Met Museum foregrounds the perspectives of women and people of color in the 1930s in the wake of industrialized labor.