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William S. Smith

Editor, Art in America

William S. Smith is the editor of Art in America. Since joining the publication in 2013, he has contributed articles on topics ranging from abstract painting to graphic design to digital technology in museums. Will is also a founding editor of the online magazine Triple Canopy, where he published essays and books, curated digital artwork, and organized public programs in partnership with the Museum of Modern Art, the New Museum, and the Museum of Contemporary Art Denver, among other institutions. He has written essays for museum exhibition catalogues produced by the Solomon R. Guggenheim Museum, the Whitney Museum of American Art, and the New Museum, all in New York. In addition to holding curatorial positions at New York University’s Grey Art Gallery, Art in General in New York, and the Fabric Workshop and Museum in Philadelphia, he has lectured at the Museum of Modern Art in New York and taught art history courses at New York University, Pratt Institute, and Colorado College in Colorado Springs. Will holds degrees in art history from New York University’s Institute of Fine Arts and Brown University. He lives in Brooklyn and is currently working on a book about gardens. His middle initial “S” stands for St. James. He is on Twitter @willsssmith.

Latest News

Editor’s Letter

Disputes about the distribution of arts funding within New York may come across as parochial outside the city. But the centralization of cultural resources is also taking place on a national scale…

Editor’s Letter

Artists included in major biennial exhibitions, like the ones opening in Venice and at the Whitney Museum in New York this month, can find themselves subject to countervailing expectations. These…

Editor’s Letter

It's hardly possible to imagine Donald Trump and the crowds who gather at his rallies finding much to value in the contemporary art that is discussed and celebrated in these pages. Still, Trump's…

Editor’s Letter

How could cultural integration happen without flattening productive differences? To what extent are networks of artistic exchange conducive to expanding markets? What would a postcolonial museum look…

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