After thirty years of exhibiting her work, language has failed Suzanne McClelland. Or, more accurately, she has failed language, having banished text from her latest series of paintings, "Mute"…
Alissa McKendrick's debut solo show, "Resentment," featured five paintings depicting loosely sketched female figures against brushy fields of color. The spindly figures appear to hover atop these…
Paul Mpagi Sepuya became known in the early aughts for relatively straightforward shots of friends, lovers, and acquaintances that were perhaps most notable for their indexing of a particular queer…
“Why buy art when you can buy the artist?” wonders Leroy LeLoup, the main character in Alex Bag’s The Van (Redux)*, 2015. LeLoup, played by Bag’s brother Damien, first appeared in Bag’s 2001 video Unt…
The automobile has a central place in the history of modern art, serving to symbolize both the efficiency of industrial production and the spectacle of mass consumption.
Sam Samore’s new show, “Accumulation of Shapes (Part One),” appealed to a certain kind of spectator—clingy and obsessive in relationships.
French artist Brice Dellsperger's exhibition offered a single body of work shown in two ways: at Team Gallery's Wooster Street space, the 30 videos comprising the artist's "Body Double" series played…
At the moment, Tabor Robak's 3-D-modeled landscapes and simulated video-game interfaces seem utterly contemporary, especially in contrast to the 16mm film projectors and slide carousels that pass fo…
As Holden Caulfield walks the streets of New York City on his way to a nervous breakdown in J.D. Salinger's The Catcher in the Rye, he finds himself, each time he's about to step off a curb…