Jennifer and Kevin McCoy's latest show at Postmasters centered on a new fictional video that explores how stark the disjuncture between blue- and white-collar labor has become.
David Gilbert's exhibition play fast and loose with art historical precedent, much like the glamorous architectural anachronisms evoked by the show's title: San Francisco's famous Victorian houses…
Is it ironic, or simply appropriate, that Hugh Scott-Douglas, an artist whose work has often taken up the flows of twenty-first-century capital as its theme, is the poster child for the vagaries of…
Paul P.'s exhibition at Lulu was his first solo show in Mexico—and his first devoted primarily to portraiture in over a decade.
After thirty years of exhibiting her work, language has failed Suzanne McClelland. Or, more accurately, she has failed language, having banished text from her latest series of paintings, "Mute"…
Tracing the many lines of Native modernism, "Stretching the Canvas" should be a bellwether for the institutions that still exclude these stories.
Conceived for the impossible task of serving as an alibi, if not an apology, for the $25-billion development at New York’s Hudson Yards, the Shed, the 200,000-square-foot nonprofit art space that opened April 5, seems almost to invite disparagement.
There are many ways to take stock of the decade, and before this one slips away, we look back at the terminology that defined the era.
