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Features
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Reviews
August 15, 2024
Jessica Lynne
,
Catherine G. Wagley
Reviewing the Reviews: The 2024 Whitney Biennial
Features
,
Reviews
January 6, 2023
Jenny Wu
Portrait of the Artist as a Young Thief
Features
February 24, 2022
Simon Wu
On Whiteness
Reviews
July 6, 2020
Rahel Aima
Depleting Felix Gonzalez-Torres
Features
December 2, 2019
Mark Mann
It’s Okay to Laugh: The Political Turn in Bridget Moser’s Prop Art
Features
,
Reviews
August 1, 2019
Joseph Henry
Love and Loneliness: Queering Modernisms in Figurative Painting
Features
July 27, 2019
Ben Davis
How Protest Works Now: Understanding “The Tear Gas Biennial” and its Historic Effect
Reviews
July 16, 2019
Rahel Aima
Firing Blanks: Hito Steyerl and the Voiding of Research Art
Features
May 30, 2019
Anique Jordan
,
Michèle Pearson Clarke
“Where Does Art Get To Live?”: A Conversation Between Anique Jordan and Michèle Pearson Clarke
Reviews
October 3, 2018
Michèle Pearson Clarke
Pinning Whiteness to the Wall: The Violent Theater of Rosalind Fox Solomon
Reviews
June 8, 2018
Casey Beal
“Whitewalling,” Mishearing, and Translating Protest
Features
August 11, 2017
Casey Beal
Free to Care Less: On the Cynicism of “Starting a Conversation”
Features
July 20, 2017
Aruna D'Souza
Mourning Jimmie Durham
Reviews
April 20, 2017
Hyunjee Nicole Kim
The Inevitable Cannibalization of Institutional Critique: Surveying Michael Asher and Christopher D’Arcangelo in L.A.
Reviews
April 12, 2017
Terence Trouillot
Hannah Black Transcends the Dana Schutz Controversy with a Slow-Burn MoMA PS1 Performance
Features
September 6, 2016
Gilda Williams
“Embarrassment is a Challenge”: The Queasy Vulnerability of Maria Lassnig
Features
October 19, 2015
Benjamin Bruneau
Interview: The Compressed Violence of Dana Schutz
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