Search View Archive


An essay on floating.

Art In Conversation

Nash Glynn with Ann C. Collins

In January of this year, Nash Glynn fell in love with a loft in an old warehouse building near the Seaport. She had been living and working in Brooklyn for years, in an industrial corner of Greenpoint, but as the pandemic lifted, she was looking for a change. The space, filled with sunlight and the salty breezes that blow inland from New York Harbor, gave her exactly that.

Art In Conversation

Suzanne Jackson with Lilly Wei

On the occasion of her solo exhibition, Listen’ N Home, at the Chicago Arts Club Suzanne Jackson spoke to Lilly Wei about her process of layering, the importance of titles, and the role history plays in her work and life.

Art In Conversation

Matthew Ritchie with Jason Rosenfeld

Matthew Ritchie’s show, A Garden in the Machine, is at James Cohan at 48 Walker Street through October 15. It includes two series of paintings made in the past year, a suite of ten related drawings, each titled Leaves, a large sculpture, and a film. The artist’s major career survey, A Garden in the Flood, curated by Mark Scala, will open at the Frist Art Museum, Nashville, Tennessee, on November 11. It will also include a collaboration with the composer Hanna Benn and the Fisk Jubilee Singers, with direction from their recently deceased leader, Dr. Paul T. Kwami. This is Ritchie’s first solo show at the gallery.

Art In Conversation

Thomas Ruff with Will Fenstermaker

Aldous Huxley wrote eloquently about what is certainly a universal desire to transcend ordinary human experience—and which is also the compulsion driving both religious mysticism and im-age-making. In The Doors of Perception, first published in 1954, he relays his own experience with mescaline, the hallucinogenic alkaloid produced by peyote. Known as “the book that launched a thousand trips,” The Doors of Perception became a seminal text among Timothy Leary and the American hippies. Thomas Ruff’s new “” series is named after Huxley’s book, and the images of fractals folding back on themselves, tessellating into infinity, do superficially resemble the visual hallucinations that Huxley describes as well as the psychedelic art that became a mainstay of 1960s counterculture.

From the Publisher & Artistic Director

Dear Friends and Readers,

It’s exactly twenty-two years ago this very month that the Brooklyn Rail was given a sporting chance to prove itself.

Editor's Message

First Encounters with Marcel Duchamp

My first comprehension of a readymade was so momentous and life-altering that it is etched into my memory with such permanence that it seems to have happened yesterday, when, in actual fact, it occurred when I was eighteen years old, now some fifty-eight years ago.

Critics Page


Table of Contents

Publisher's Message

Editor's Message



Critics Page








Art Books

In Memoriam


Field Notes

The Miraculous

Art and Technology


The Brooklyn Rail

OCT 2022

All Issues