Institution-Building in the Global South: Hoor Al Qasimi of the Sharjah Art Foundation
The impresario discusses balancing fleeting international attention with sustained regional operations.
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Adrian Burrell Explores the Difficulty—and the Promise—of Escaping Black American History
In sculpture, texts, and film, the artist focuses on his own ancestors' struggles in the American South.
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From the Archives: Why Don’t Critics Make Judgments Anymore?
Raphael Rubinstein laments the lack of opinion in contemporary art criticism and offers some judgments of his own.
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Institution-Building in the Global South: Roobina Karode of the Kiran Nadar Museum of Art in New Delhi
The museum director discusses building a collection and a permanent home, and bridging the gap between art and audience through storytelling.
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From the Archives: How José Bedia Blends Religious Traditions in His Art, and His Life
Unlike the appropriative methods of Picasso, José Bedia's primalist process involves direct sacrifice, a giving back, and the nurturing of trust and friendship with native artists and philosophers.
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Hard Truths: Can an Activist Smear Food on Art Without Consequences?
A protestor wants to make an impact, and a teacher bemoans his old grad-school email list.
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In Stylish Photographs, Alberto García-Alix Captured Spain’s Outcasts and Lesser-Known Youth Rebellion
García-Alix was part of La Movida Madrileña, a youth movement of the 1970s and '80s, whose participants and influences are evident in his photographs.
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Blind Spot: Sophie Calle at the Art Institute of Chicago
The French conceptualist's 1986 project about blindness doesn't hold up well in today's disability culture, and its pairing with a new series only brings out the self-amplifying qualities of both.
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Institution-Building in the Global South: Ibrahim Mahama of Ghana’s Savannah Centre for Contemporary Art
The artist and director discusses the importance of experimentation and failure in creative placemaking.
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Untamed, Shifting Landscapes: Brett Goodroad at Greene Naftali
Linger a moment and Goodroad's frequently murky pictures dissolve into tracts of color, patches of texture, fields of forms, evocations of feelings.
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