Mark Leckey
The recent midcareer survey of Mark Leckey's work at MoMA PS1 was, by turns, humorous and thought-provoking, wistful and disturbing.
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Austin Considine
James Coleman
James Coleman’s exhibition of several new digital videos, projections, and films from the 1970s offered a profound meditation on the act of seeing.
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Werner Büttner
In his 2015 collage The Humorlessness of Historians Spawns Further Monsters . . . , German artist Werner Büttner frames a bust of Janus, the Roman god of beginnings and endings, within an inky black…
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László Moholy-Nagy
László Moholy-Nagy was a young Constructivist in Berlin when, in 1923, he accepted the architect Walter Gropius’s invitation to teach at the Bauhaus in Weimar. Moholy-Nagy’s democratic embrace of new…
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Martin Creed
Martin Creed wants you to fuck off. He says as much in Work No. 1358: Fuck Off (2012), in which an illuminated screen goes dark the moment the piece begins and a minute-long, post-punk-style audio…
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Anri Sala
The term “immersive” is often abused—a fancy-sounding cliché to describe an exhibition that is merely expansive, cluttered, or, as the critic Ben Davis noted, “full of big things.” Not so with regard …
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New Museum Triennial
“Surround Audience” focuses heavily on work that reflects a climate in which hyper-connectivity and new technologies have redefined the roles and practices of artists, leading to what many have cursor…
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Lucy Skaer
“None of the ways that I represent things are straightforward,” Lucy Skaer has said of her work. Indeed, Skaer’s two concurrent New York exhibitions contained prints, sculptures and installations—ofte…
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Devin Troy Strother
Are African-American fine artists today free from pressures to perform in specifically (but “acceptably”) “black” ways, as determined by a mostly white audience? According to the critique implicit in…
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Enrico David
Enrico David's recent exhibition comprised mostly figurative, small-scale sculptures.
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