Reviews
Latest Reviews
Foreign Policy and Megadeth: José Guadalupe Garza at High Low Gallery
Using the language of popular culture, the artist interrogates the fraught relationship between the United States and South America.
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Revolutionary Pants: Modern Garb as a Herald of Modern Art
Curator David Elliott argues that adopting Western-style trousers signaled new modes of living and art-making throughout Asia.
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One Work: Carolina Caycedo’s “Serpent River Book”
Linking histories of corporate interventions in bodies of water, Caycedo's sculptural publication emphasizes social ramifications and highlights local forms of resistance.
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A Reunited History: Jacob Lawrence at the Phillips Collection
A decade after his celebrated "The Migration Series," Jacob Lawrence painted the story of the beginnings of America, including competing struggles for independence.
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Securing Transactions: Martine Syms at Bridget Donahue
Martine Syms's exhibition both embraces and laments the entanglement of brands and identities.
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Gray Areas: Maggie Nelson’s Ambivalent Essays
In her new essay collection, "On Freedom: Four Songs of Care and Constraint", Maggie Nelson offers an unconvincing argument in favor of indeterminacy.
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One Work: Sanford Biggers’s “7 Heavens”
In adding new symbols to an antique quilt, Sanford Biggers connects African American material culture to present struggles for Black liberation.
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Barriers to Entry: Cady Noland at Galerie Buchholz
Deploying barricades and fencing as readymades, Cady Noland's new works attempt to speak to exclusivity in and outside of the art world.
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How the Internet Ruined Art
Janet Kraynak describes digitization's adverse effects on the art world, but doesn't reckon with the problems of the art world that made it vulnerable to these changes.
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One Work: Midge Wattles’s “Venus”
Midge Wattles documented Milton Resnick's home and studio after his death; one photograph functions as a memento mori.
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