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

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

JoAnna Novak is five months pregnant when she decides to spend 18 days in the small town of Taos, New Mexico, to immerse herself in Agnes Martin’s life and work.

By turns whimsical and poignant, Kalman's Women Holding Things combines two of her most consistent subjects: women and beloved objects.

Nina Menkes’s Brainwashed: Sex-Camera-Power wants to join the ongoing conversation about gender and film. The trouble is that it has nothing new to say.

Eva Hagberg’s new book sheds light on the relationship between critic and publicist Aline Louchheim and architect Eero Saarinen.

Both Celia Paul and Gwen John oriented their lives around being artists and were diverted by romantic entanglements with famous male artists that reduced them to muses. Was it worth it?

MAU is too charmed by its subject to nail down what he has achieved, or why people should even care about him in the first place.

Yamasaki’s most well-known projects — the twin towers and the Pruit-Igoe housing project — were both destroyed on national television.

With the opening of the new, $40 million structure in East Williamsburg, it poses the question of its role in the local arts community — one of collaboration or conquest?

Emily Rapp Black’s new book cuts though self-serving interpretations of disabled bodies like Kahlo’s, which have long emphasized the comfort or pleasure of others.

Beth B’s biographical documentary The War is Never Over has a DIY sensibility befitting the No Wave performer.

A memoir-in-essays, Pop Song is at its most satisfying when the author assembles an arsenal of visual artists to express the ineffable.

Bill Traylor: Chasing Ghosts works with the scant available details of the artist's life to tell his story.