Rodrigo Valenzuela’s recent project engages with the dreams and realities of 20th-century modernism and the possibilities of public housing.
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.
Tiffany D. Gaines, Machiko Harada, Brianna L. Hernández, Álvaro Ibarra, and Brian Johnson are the recipients of this year’s fellowship.
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.
An exhibition at NYC’s Woodhull Hospital pairs works from the medical center’s collection with pieces made by people currently imprisoned at the jail.
This week, a giant sand maze in Miami, how to free yourself from big tech, Eric Adams’s bad luck streak, the fringe benefits of near-sightedness, and more.
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.
While the world is burning outside the ephemeral veneer of this week, artists at NADA, Untitled, and Ink Miami explore intimacy, femininity, and Latinidad.
Josiah McElheny’s latest sculptures reject traditionally idealized forms in favor of the imperfect.