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Reviews
November 20, 2025
Emma Fiona Jones
Perfectly Imperfect: On Casa Susanna and Its Tender, Queer Entanglements
Features
March 9, 2024
Kate Wolf
She Was Paying Attention: Remembering Alexis Smith
Features
February 24, 2022
Simon Wu
On Whiteness
Features
March 6, 2020
Ben Davis
With Sharper Tools: Defending the National Endowment for the Arts
Features
December 2, 2019
Mark Mann
It’s Okay to Laugh: The Political Turn in Bridget Moser’s Prop Art
Features
September 13, 2018
Naomi Rea
Confronting Gender Imbalance at the Rencontres d’Arles
Reviews
April 18, 2018
Christina Catherine Martinez
Embarrassed Celebrity: Laurie Simmons’s Feature Debut
Reviews
June 14, 2017
Joseph Henry
“All Awareness Becomes Base”: Jens Hoffmann’s Reduction of The Arcades Project
Features
April 14, 2017
Mitch Speed
The Enduring Popularity of Fictional Critic “Madame Realism”
Features
March 9, 2016
Liz Jobey
Hold Still: A History of Performing for the Camera from Nadar to the Selfie
Features
February 16, 2016
Sky Goodden
“I Think We’re Changing Into a Tribal Nation”: A Conversation with Dave Hickey on “25 Women”
Features
December 22, 2015
Ben Davis
The Most Important Art Essays of the Year
Reviews
October 26, 2015
Catherine G. Wagley
Helen Molesworth Upends the Permanent Hang at MOCA LA
Reviews
September 14, 2015
Michael Vass
The Subtle Evolution and Marked Aging of Michael Smith’s “Mike”
Features
April 27, 2015
Joseph Henry
The Suffering Body of 1993: Whatever Happened to the “Abject”
Features
April 9, 2015
Sky Goodden
Interview: Curator Christopher Eamon Troubles the Shifting Form (and Relevance) of Photography
Reviews
March 17, 2015
Saelan Twerdy
Aiming to Please: Division Gallery Surveys Post-Internet Entertainment
Reviews
January 8, 2015
Joseph Henry
Querying the New Appropriation Art: Is This Cynicism?
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