Sonya Clark’s latest catalogue, the case for decolonizing drag, Coco Fusco speaks truth to power, a memoir of Brooklyn’s underground performance scene, and more.

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

“My drawings were always kind of grim and dark, and leaning toward the nasty part of art, whatever you want to call it,” Jones explains in an interview with Hyperallergic.

The story of a Gee’s Bend quilt, McKenzie Wark’s new memoir, Native photography, motherhood in light of Agnes Martin, and more.

The exhibition Women Defining Women at LACMA suffers from poorly defined parameters and a weak understanding of its own premise.

Bernstein’s latest works are beset with a deathlike quality rarely seen in her earlier pieces, even ones that directly addressed death in war or genocide.

In the early ’90s, the Kids in the Hall transgressed boundaries of propriety, gender, sexuality, even species as an alternative to binary thinking.

Five Southern California Views taps into the mythology of the West as an expanse for the imagination, only to decenter the human presence.

The works that best exemplify a uniquely German grotesque in Reexamining the Grotesque are those that reflect the war and Weimar years.

Given a platform to say something — about first-world capitalism, its attendant environmental destruction, or the definition of the self through objects — why not use it?

The twilight state between dreaming and waking that permeates a restoration of Maddin's Tales from the Gimli Hospital echoes that of life and death in his films.

In Benglis's latest works, the forces of gravity that defined her seminal poured latex and polyurethane pieces are traded for luminous bronzes.

In attempting to convey atrocities that confound language, artist Phyllida Barlow comes up against a paradox with no easy resolution.

Nearly a decade after his death in 2013, Phel Steinmetz’s attention to the effects of capitalism on the environment can be recognized as both political and prescient.

Wrestling is less a physical act than a psychological space in Mark Yang’s paintings.

Steckel compelled audiences to acknowledge uncomfortable realities about systemic sexism that persist decades later.

Pylypchuk’s art has always been deeply engaged with the most painful parts of life, those that human beings tend to push aside or deny in order to get by.

Through her encounters with the spirit Lacamo, Peavy developed a cosmology based on 12,000-year cycles of evolution.

For Mayer, the passage of time is imbued with a sense of melancholy, of something already lost to the past.

Eversley’s parabolic sculptures draw us into a self-aware and ever-shifting encounter with space and perceptual phenomena.

For much of his career, Olesen has confronted both psychological and physical violence, perpetrated by power structures against non-normative bodies.

Ulala Imai does more than project human feelings onto toys; she proposes that they represent us, and that we share some of their qualities.

Aitken’s exhibition "Flags and Debris" is informed by a dialectic of embodiment and absence.

Carter’s paintings gesture toward unknown realms, whether death or nonhuman consciousness.

Judith Bernstein, Carroll Dunham, Alia Ali, and Tomashi Jackson talk about what got them through 2020.

Divya Mehra offers a complex view of race and identity that supplants the myth of a monolithic Other.

In Body Politic, McMillian unveils the insidious racial exclusion and oppression in Abstract Expressionism and landscape painting.

Implicit throughout the artist's latest show is the tension between the feeling of failure and the struggle to be recognized and taken seriously, rather than erased.

Artists and activists have a long history in the Skid Row neighborhood. An online archive documents their stories and influence.

Spilliaert saw his hometown of Ostend, Belgium, as a kind of liminal space between the outside and his interior world.

While Morton’s career spanned less than a decade (1968–1977), her work remains vital to questioning what it means to be a woman in art history and society.

In Kelly’s sculptures, manmade objects morph into new or composite forms that seem to verge on organic.

The exhibition includes both well-known and emerging artists and reaches across LA County’s varied neighborhoods.

Messy, anarchic, and sexualized, Went’s performances around Los Angeles from the late 1970s through the '80s refused to be reduced to a single thing.

Churchman raises pointed philosophical and sociopolitical inquiries by coaxing viewers toward a position of otherness.

Throughout his career Jon Pylypchuk has confronted the most awkward and gut-wrenching parts of being human.

While Tatsumi Hijikata and Eikoh Hosoe reflected the countercultural mood of Japan’s postwar avant-garde, the trauma of World War II is inscribed in both artists’ aesthetics.

The Pleasure Principle at Maccarone wavers between issues of women’s representation and those of pornography and art, without fully committing to either.

Strau's collage-paintings merge the word and the light, while positing the shared slipperiness of language and faith.

Kaari Upson's work resonated with the excesses and liberties that characterize the relationship in Hollywood between powerful men and less powerful women.

The 2018 incarnation of Universal Eyes has been a moment to look forward to, and an opportunity to look back on the noise and experimental music scene that emerged in the 2000s in Michigan and the Midwest.

Douglas’s historical and new works, shown alongside pieces by younger artists, draw a line of influence between the two generations and establish a community of shared concerns.

By returning to the details of life embedded in bodies, objects, and the earth, the artists featured in Before the Fall at Neue Galerie conveyed the hope that the world might reassemble itself.

While Michael E. Smith’s sculptures and installations draw on conceptual art, his practice centers on the objects he uses, and the messy details of life.

Aldrich brings a rich sense of materiality to a practice founded on the gap between images and language.

For fans of Kelley and Shaw, Michigan Stories is a kind of origin story, a way to decipher the work of two multifaceted and prolific artists.

The exhibition is strongest conceptually when the curators focus on the artist collectives that sought a new social and cosmic order through art.

Grossen's rope sculptures complicate the boundary between art and craft in a productive way.

There may be no artist in America better equipped to express the perversity of the Trump administration than Bernstein.

Ephemera provides an important history lesson, especially for a war that is disappearing from America’s collective memory, but the most affective works in World War I and the Visual Arts are those that convey the pathos of the war experience.