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Kirsten Swenson

Fred Eversley

When I visited this exhibition of thirteen works by Fred Eversley, the black, white, and gray polyester resin and acrylic sculptures that serve as the show’s focus reflected the New England winter sun…

Edgar Arceneaux

Arceneaux’s immersive, theatrical works reveal complex, lost storylines of the post–civil rights era United States and cast us as witnesses to the lies, redactions, iconizing, and forgetting that has…

Robert Irwin

In 1970, Robert Irwin gave up his studio and sold his art supplies. The midcareer painter and sculptor “simply stopped being an artist in those senses,” as he told Lawrence Weschler for the classic bi

Lorraine O’Grady

At the time, it seemed unremarkable to walk onto the Harvard campus to view "Lorraine O'Grady: Where Margins Become Centers," tucked inside the Carpenter Center, America's sole Le Corbusier-designed b…

Agnes Denes

Smashing an animal skull with a femur bone, an ape in Stanley Kubrick’s 2001: A Space Odyssey enacts a critical moment in human evolution: the discovery of a tool instantly giving way to a deadly wi…

Land Art for the Media Age

A current museum survey of Land art challenges the established definition of the 1960s and '70s movement. In March of 1962, Jean Tinguely arrived in Las Vegas to construct a massive auto-destructive s

M.K. Guth

Among the megaresorts that line the Las Vegas strip, gambling is increasingly being recast as just one of a dozen forms of entertainment and culture. Now, slot machines and blackjack tables are some…

Geoffrey Farmer

Geoffrey Farmer's recent exhibition at REDCAT evoked some of the messier, more perverse doings of the 1960s and '70s. The title, "Let's Make the Water Turn Black" (perhaps a reference to excretion o…

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