The artist retells the myth of Gilgamesh through a meditation on mud, a primordial material and source of timeless storytelling.

The artist’s solo US museum debut at the Baltimore Museum of Art is a contemptuous, at times satirical, take on oppression that gives way to a new history.

Speaking and singing in Korean with English subtitles, the cast leans on the traditional Korean folk storytelling tradition of pansori, and more modern musical accompaniment.

In this assemblage of multinational artworks, a cohesive postcolonial canvas fails to fully emerge, owing to Dream City’s lack of bold vision.

The leadership of Paris+ and its 10-dealer-strong advisory board have oddly forgotten to include a single person of color.

The only surprise perhaps is that this hasn’t come sooner given the extent to which the Louvre Museum expansively brands itself and its collection around the figure.

The museum forgets that it is already a violent graveyard of colonial-era cultural trophies removed from their homelands under dubious circumstances.