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Mark Leckey

The recent midcareer survey of Mark Leckey's work at MoMA PS1 was, by turns, humorous and thought-provoking, wistful and disturbing.

James Coleman

James Coleman’s exhibition of several new digital videos, projections, and films from the 1970s offered a profound meditation on the act of seeing.

Werner Büttner

In his 2015 collage The Humorlessness of Historians Spawns Further Monsters . . . , German artist Werner Büttner frames a bust of Janus, the Roman god of beginnings and endings, within an inky black…

László Moholy-Nagy

László Moholy-Nagy was a young Constructivist in Berlin when, in 1923, he accepted the architect Walter Gropius’s invitation to teach at the Bauhaus in Weimar. Moholy-Nagy’s democratic embrace of new…

Martin Creed

Martin Creed wants you to fuck off. He says as much in Work No. 1358: Fuck Off (2012), in which an illuminated screen goes dark the moment the piece begins and a minute-long, post-punk-style audio…

Anri Sala

The term “immersive” is often abused—a fancy-sounding cliché to describe an exhibition that is merely expansive, cluttered, or, as the critic Ben Davis noted, “full of big things.” Not so with regard

New Museum Triennial

“Surround Audience” focuses heavily on work that reflects a climate in which hyper-connectivity and new technologies have redefined the roles and practices of artists, leading to what many have cursor…

Lucy Skaer

“None of the ways that I represent things are straightforward,” Lucy Skaer has said of her work. Indeed, Skaer’s two concurrent New York exhibitions contained prints, sculptures and installations—ofte…

Devin Troy Strother

Are African-American fine artists today free from pressures to perform in specifically (but “acceptably”) “black” ways, as determined by a mostly white audience? According to the critique implicit in…

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