Arts

Limiting the biennial to the first floor of the National Gallery was a lost opportunity to position artworks in response to the country’s social vibrations.

It’s the end of the year, so that means it’s time for our annual list that highlights those who are often rendered powerless in a system ruled by the oversized influence of the super-rich and their courtiers.

Fuseli and the Modern Woman is immensely pleasurable for the technical facility of an artist pursuing his own personal interests in an incredibly idiosyncratic style.

Collaboration in Marcelle’s work pursues ambiguity and disorder in order to destabilize hierarchies of race and class.

This year, we’re going big with a list of memorable shows from around the world, seen and loved by our editors and contributors.

Christy Chan’s Who’s Coming to Save You? makes clear the perpetual nature of American bigotry.

Dahlia Elsayed and Andrew Haik Demirjian imagine “Mustaqbaaaahpolis” as a city free from “extraction, time scarcity, and exploitation.”

An exhibition at Blanton Museum of Art encapsulates the complicated ways in which Indigenous and European traditions cross-pollinated through textiles and accessories.

Pittsburgh’s John Kane: Life & Art of an American Workman presents Kane’s experience as a manual laborer as integral to — not separate from — his art.

Welcome to the 206th installment of A View From the Easel, a series in which artists reflect on their workspace. In this edition, artists pour paint across folded sheets of paper, regard their studio as an “office,” meticulously craft mosaics, and make small spaces feel limitless. Want to take part? Check out our submission guidelines and share a bit about your studio […]

Pattern and Flow: A Golden Age of American Decorated Paper, 1960s to 2000s is a feast for the eyes.

Beau Carey and Ian Fishers’ exhibition considers our relationship to the earth, from the top down.

For some of us, it’s not exactly news that rich and famous people are connected to other rich and famous people.

Sometimes, exhibitions about identity demand too much of those bearing the identities, expecting them to speak explicitly to their experience.

Really Free: The Radical Art of Nellie Mae Rowe is brimming with examples of the artist’s imaginative allegorical art.

An exhibition at the Museum of the City of New York celebrates the Big Apple in the most seasonal (and tastiest) medium of all.

This week, a mysterious portrait of Joan Didion, considering Carolee Schneemann, privatizing libraries, Dalit discrimination, the “great internet grievance war,” and more.

An exhibition on view at Detroit’s Henry Ford Museum features 7,000 Christmas ornaments, from the traditionally festive to the deeply bizarre.

The Brazilian artist practices an erasure poetry upon textiles and assembles the results into evocative, semi-sculptural configurations.

Dean Byington’s Cassandra warning call in his art reveals the world we know as a facade teetering on the brink of collapse.