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Features
April 2, 2026
Harley Wong
Staying to the End: Gossip, Banter, and Loss in Peter Hujar’s Friendships
Features
September 25, 2025
Elisa Wouk Almino
What a Book Can Do: On Editing Emily Mason and Alice Trumbull Mason’s Monographs
Features
July 3, 2025
Jackson Davidow
A Model for Risk-Taking: Arthur Tress’s Grotesque Allegory of a Presidential Cabinet
Features
February 5, 2025
Tiana Reid
Disposability, Divestment, and Action: The Palestine Solidarity Movement and the State of Art in Toronto
Features
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Reviews
August 15, 2024
Jessica Lynne
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Catherine G. Wagley
Reviewing the Reviews: The 2024 Whitney Biennial
Features
June 14, 2024
Julie Weitz
Exposing the Contradictions: Jewish Artists Dismantling Germany’s Nationalist Narrative
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February 23, 2024
Carmen Winant
Our Visuality: Abortion Care Work and Photography
Features
February 2, 2024
Caitlin Jones
Magical/Market Thinking: Reflecting on the Rise and Fall of Artscape
Reviews
January 19, 2024
Harley Wong
When Feminisms and Futurisms Collide: Judy Chicago and Puppies Puppies at New Museum
Podcast
November 20, 2024
Season 7: Episode 6
"Applying Your Attention" Niela Orr
Niela Orr
Reviews
December 12, 2023
Eliza Swann
They Made Him Gray: The Whitney Museum Dims Artist and Mystic Harry Smith
Features
September 8, 2023
Simon Wu
“A Multiculti Blitzkrieg”: On the Ascendance of the Curator of Color
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Reviews
August 22, 2023
Elisabeth Nicula
We’re Alive, Pablo Is Dead
Features
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Reviews
May 2, 2023
Elisabeth Nicula
Bad Reviews
Reviews
March 9, 2023
Sterre Barentsen
The Preserving Machine of Matthias Groebel
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Reviews
January 6, 2023
Jenny Wu
Portrait of the Artist as a Young Thief
Features
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Reviews
December 10, 2022
Rahel Aima and Catherine G. Wagley
Reviewing the Reviews: Documenta 15
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October 26, 2022
Catherine G. Wagley
On the Fear “That There Wouldn’t be Another Project”: A Conversation with Lisa Hsiao Chen
Features
July 19, 2022
Nora Rosenthal
A Meditation on Hannah Wilke’s Last Work
Features
May 2, 2022
Michael McCanne
Mary Mattingly’s Way to Adapt
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