“As a collection that’s interested in accessibility and letters, we look at one of the most democratic versions of letters that exists,” said Letterform’s Kate Long Stellar.

This month, a range of video essays about tech-related subjects and history.

Throughout her decades-long career, Fusco has laid bare the many mechanisms through which subjugated bodies are stripped of their agency.

The toy-like scale of LeDray’s art gives everything a glow of childhood play and fantasy while pushing it far away.

Art can be, and often is, a species of combat, a fight to the death.

Made from everyday materials, Lee’s sculptures feel approachable and familiar, reminiscent of home and imperfect human bodies.

Erika Doss's new book Spiritual Moderns retells the story of modern art with a more honest look at how religion shaped it.

Grace and elegance abound in Kambui Olujimi’s paintings on the phenomenon of the dance marathon, but so too do rugged drama and discomfort.

David Diao uses Barnett Newman as a sounding board to explore his own fascination with the artist and the contradictory legacies of modernism.

What does it mean for a film addressing overtly political themes to remain apolitical?

Her exhibition +Home+ is a mediation on notions of home through the lens of her ancestors, lived experience, and the legacies we leave.

Her photography presents a compelling statement about the fine line between self-investigation and self-objectification.

Sugimoto’s photographs remind us of the sacredness of images in a time of image over-saturation.

What can drawing do that other mediums cannot, and when is it a preliminary sketch and when is it a final product?

In El abrazo, Morelos balances spectacle and substance, offering visitors plenty to touch and to ponder.

The Pakistan-born, Texas-based artist creates energetic works underpinned by a pervasive sense of threat.

What’s fascinating about Manet/Degas at The Met is the degree to which the work of each artist seemed to possess whatever the other lacked.

Capturing the Moment pairs works from the private YAGEO Foundation with those from Tate Modern for a show with no named curators or patent purpose.

Sokolow’s overarching concern in her current exhibition, Visualizing is with the coercive potential of built environments.

“Three Transitions” from 1973 depicts a slippery reality that thwarts the notion of video as an inherently “documentary” medium.

While painting on canvas often slows life right down, paper works were frequently the stuff of sketchbooks, not necessarily labored over in some studio.

Portraits by Caledonia Curry (aka Swoon) reveal the connectedness of bodies, psychological landscapes, landforms, and built environments.

Josiah McElheny’s latest sculptures reject traditionally idealized forms in favor of the imperfect.

He introduces an exotic fantasy world that reflects his personal experiences and longings as a gay Asian man living in the diverse melting pot of Los Angeles.

A member of the queer collective Grupo Chaclacayo, his transformational performances were a cry for gender equality and political freedom in Peru.

The work on gender and ecology in RE/SISTERS at the Barbican suggests that it is time to re-examine and re-engage with ecofeminism. 

Christine Coulson’s sophomore novel One Woman Show explores the formal constraints — and narrative possibilities — of the museum wall label.

The biennale dives into ancient cosmologies, current issues, and futurist dreams through a cinematic lens.

The artist, who passed away this year, finally let go of his desire for control and perfection without surrendering his self-imposed restraints.

Works by Giambattista Tiepolo and his son Domenico offer hints of whatever subterranean Oedipal struggles played out between them.

It’s easy to think of stone as static, immutable, but as Eternal Medium shows, stone is a slice of the earth itself, as alive as the artists who mold and shape it.

Is it not social practice to provide an experience in which a different kind of attention and, above all, a different kind of thinking is demanded?

I can think of few other artists who, through the process of painting, are willing to place their work in jeopardy by denying the viewer a definition or resolution.

Williams’s scholarly interest in the Black female form paralleled a decades-long private photographic practice that began in the 1980s.

In her visceral works, Uckotter examines a version of trans womanhood unseen in most mainstream narratives.

Fruits of Labor at Apexart features eight artist-mothers whose work, directly and indirectly, is shaped by motherhood.

A narrative unfolds in Alejandre’s recent paintings whereby the Chicano moon landing led to the creation of “Xicanoland.”

Director Nicole Newnham chronicles the rise, fall, and disappearance of the iconic feminist sexologist.

In his final book, art historian B.N. Goswamy sketches a portrait of the Indian cat, drawing on Hindu, Buddhist, and Muslim fables.

Dennis’s exaggerated scenarios compel non-Indigenous viewers to confront racial dynamics that many people in the images choose not to see.

At the center of the acclaimed Abenaki filmmaker’s practice is her effort to counter White, colonialist versions of history.

Shakers mingle in this multimedia production at the New York Choral Society.

A century after his death, the Meadows Museum offers a rare opportunity to experience 26 of the artist’s luminous paintings of Spanish landscapes.

You’s paintings exude a sense of sweet, childlike wonder, where each moment is filled with possibility.

All of the works in Material as Message ask us how we come to remember, through materials that suit the memories they’re trying to preserve.

I came to Herstory hoping to see depth, guts, the ambition and potency of “The Dinner Party” and instead found nothing but surface.

Abraham Ángel embodied a new type of homegrown Mexican artist who rejected past European traditions in favor of local influences like arte popular. 

Is the Royal Academy’s Marina Abramović retrospective spirituality or its monetization? You toss the coin.

Each symbol in Tanavoli’s Poets, Locks, Cages at the Vancouver Art Gallery holds a special meaning in Sufism, which has inspired his work.

Smith's collections of folk music, Indigenous art, and occult ephemera inspired generations of artists.