LANE RELYEA with Katy Siegel


Upon the release of his latest book, Your Everyday Art World, Lane Relyea met with Katy Siegel to discuss the historical and future implications of DIY, contemporary post-studio practices, and the the rising art world institution.

ROSIE PEREZ with Lathleen Ade-Brown


When you talk to Rosie Perez over the phone, as I did for this interview, you can feel her in pensive thought. The pint-sized Brooklyn native’s personality is large and generous, her voice infused with that trademark accent. And the familiarity of that voice lent a casual friendliness to our conversation.


DAVID JOSELIT with Lucy Hunter and R. Lyon


Where is a semi-public, high-security shipping container and publishing project in Brooklyn, New York. Its second show, Where 2, started with a proposition for an exhibition without an artist.

Letter from BERLIN


I’ve written about exhibitions by two of these artists before. With Ruff, I remain captivated by what I called the “swaying” of his rigorous production, functioning as focus instead of distraction; with Tillmans it’s still about how he consistently reminds me to never take anything for granted.

Dear Joachim,

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I have been thinking about your invitation and the questions you’ve posed—though not, I must say, as questions. I don’t know how your prompt will appear when it is polished for the Rail, but something a bit more polemical would have been easier to speak to or push back against. What follows is a kind of reading of your email exchange with Phong, written mostly in the conditional tense.

Art, Theory, Poetry, and an Airplane Above Some Trees

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Artists and theorists in the Western tradition have long fed off one another’s work. Some of the most prominent theorists have themselves been artists, although few who might have considered themselves principally to be theorists have claimed to make art of any kind.


Dear Friends and Readers

One requirement of my graduate seminar in the Photography, Film & Related Media program at the School of Visual Arts is that each of my students—and I participate—are asked to memorize a poem, then recite it at the beginning of every class.


Art, Theory, and Infancy

During a job search at a prominent university about 20 years ago, a search committee decided not to appoint a scholar in non-Western art despite the fact that, all agreed, this person surpassed in knowledge, field research, languages, and publications almost all (few) contenders in the field. The rationale of the decision was pithily expressed by a member of the committee: “He doesn’t have enough Theory.”

That High And Lonesome Himalayan Sound


I had hoped that during my travels in the far west of Nepal I would meet or hear minstrels, but for weeks I did not.


HANY ABU-ASSAD with Joshua Sperling


Hany Abu-Assad’s Paradise Now balanced an uncompromising commitment to the Palestinian cause with a sensitivity to the contradictions of Palestinian experience. His most recent film, Omar, turns the complex tensions of occupation—and the taboo of collaboration—into a tightly plotted espionage thriller.


TERESA REICHLEN with Ryan Wenzel


The New York City Ballet principal talks about her debut in George Balanchine’s Diamonds, her changing trajectory, and why she prefers to watch other styles of dance.



The fretful, glaucous coils resolve themselves into form against an otherworldly charcoal-colored background, a gouache mist. The unearthly quality of the scene finds a formal counterpart in the composition, as the indeterminacy of streaming lines suggests figures; one defies the viewer with its vulpine gaze.

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