For his most infamous work, "The Nazis" (1998), the Polish artist Piotr Uklański, based mostly in New York since the early 1990s, compiled an archive of filmic depictions of the Third Reich—or, more…
If nothing else, Alex Prager's show at Lehmann Maupin served as a reminder that the influence of David Lynch should be handled with extreme caution.
While studying under photographer Garry Winogrand at the Cooper Union in New York in the early 1970s, Mitch Epstein trained his eye to catch moments of beauty tinged with foreboding.
Aliza Nisenbaum's exhibition at Anton Kern, "Coregrafías" (Choreographies), focused on three subjects: London Underground workers, dancers from Lower Manhattan salsa clubs frequented by the artist…
A wash of pastel pinks and yellows greeted visitors to Seoul-based painter Keunmin Lee's solo exhibition at Shin Gallery, "Redefining the Undefined." The soft palette was somewhat deceptive. The…
There's something radically unassuming about N. Dash's work. In the fourteen spare, often multipartite paintings in her show at Casey Kaplan, she applied subtle formal techniques to panels composed…
In the 1950s and '60s, when he was already one of the most daring photographers in the United States, Roy DeCarava would complain that his critics expected him to be a documenter of black people in…
War movies perform a clever trick: they create coherent, digestible narratives out of incomprehensible violence. Christian Marclay inverts this cinematic alchemy in his video, which premiered at this…
"Manfred Mohr, A Formal Language" surveyed the five decades of work this foundational yet under-known computer artist has made since adopting algorithms as tools of artistic creation.
What might Paulina Peavy's art have looked like if she hadn't attended a séance led by the spiritualist pastor Ida Ewing in Santa Ana, California, in 1932? A recent divorcée with two children, she…
