In "Strategic Vandalism: The Legacy of Asger Jorn's Modification Paintings," curators Axel Heil and Roberto Ohrt framed Jorn's practice of détournement as a kind of ground zero for various strains of…
Over a third of the works in Sarah Lucas's first stateside retrospective are from her early years as part of the Young British Artists (YBA) group, beginning with the sculpture Au Naturel (1994)…
Goldin's snapshot-style portraits became the Boston School's defining aesthetic.
Called Schlong Face, the cartoon Donald Trump that crops up throughout Judith Bernstein’s exhibition “Cabinet of Horrors” bears a striking resemblance to Philip Guston’s iconic 1971 and 1975…
Baseera Khan’s first solo exhibition in New York, “iamuslima,” was titled after a term, “Muslima,” that she had Nike stitch on a pair of sneakers to protest the company’s refusal to allow the word “Is…
“Beverly Buchanan—Ruins and Rituals” inaugurates “A Year of Yes: Reimagining Feminism,” a series of ten exhibitions and public programs at the Brooklyn Museum marking the tenth anniversary of the muse…
In his second solo exhibition at Invisible-Exports, “Hard & Fast,” Clifford Owens shared the stage with a host of contemporary artists, showcasing performances, paintings, and sculptures by others tha…
When I first read Ernest J. Gaines’s novel A Lesson Before Dying (1993), which is set in 1940s Cajun country, I held out hope that Grant Wiggins, the schoolteacher protagonist, would somehow free…
With a survey of her ongoing “Liz Taylor” painting series about to open in Switzerland, Brooklyn-based Kathe Burkhart discusses her longstanding identification with the controversial film star, praisi…
Joan Linder’s exhibition “Project Sunshine” centered on the notorious environmental disaster, one of the worst in U.S. history, known as Love Canal. Conceived by the 19th-century industrialist William…