The Brooklyn Rail

ArtSeen

• Michaël Borremans: The Acrobat

  –

  By William Corwin

• Judith Linhares: Banshee Sunrise

  –

  By Andrew Paul Woolbright

• Lucy Mullican: Sensed As Well As Seen

  –

  By Clare Gemima

• Claire Sherman: Intuor

  –

  By Barbara A. MacAdam

• Thornton Willis: A Painting Survey, Six Decades: 1967–2017

  –

  By Tom McGlynn

• Nancy Evans: Moonshadow

  –

  By Mary Jones

• Ouattara Watts: Paintings

  –

  By Andrew Paul Woolbright

• John Divola: Swimming Drunk

  –

  By Zach Ritter

• Milano Chow: Prima Facie

  –

  By Annabel Keenan

• Jane Dickson: 99¢ Dreams

  –

  By Brendan Burdzinski

• Whitney Biennial 2022: Quiet as It's Kept

  –

  By Charles Schultz

• Larry Day & Me

  –

  By Joe Fyfe

• Brad Kahlhamer: Swap Meet

  –

  By Susan Harris

• Nora Turato: govern me harder

  –

  By Maddie Hampton

• Jonas Mekas: The Camera Was Always Running

  –

  By Bryan Martin

• Remaking the Exceptional: Tea, Torture, & Reparations | Chicago to Guantánamo

  –

  By Luke A. Fidler

• Pompeii in Color: The Life of Roman Painting

  –

  By Ann McCoy

• Willie Birch: Chronicling Our Lives: 1987–2021

  –

  By Amanda Millet-Sorsa

• Joan Mitchell

  –

  By Barry Nemett

• Jamel Shabazz: Eyes on the Street

  –

  By Michael Shorris

• Marcia Resnick: As It Is or Could Be

  –

  By Ksenia M. Soboleva

• Garmenting: Costume as Contemporary Art

  –

  By Kathy Battista

• Warren Rohrer

  –

  By David Carrier

• Russell Maltz: Painted / Stacked / Site

  –

  By William Corwin

• Thomas Woodruff: Resurrection

  –

  By David Ebony

• Cameron Martin: Parts to Whole

  –

  By Greg Lindquist

• Robert Irwin: New Work

  –

  By Robert C. Morgan

• Carrie Moyer: Morphologies

  –

  By Andrew L. Shea

• How to Get Free of the Rectangle

  –

  By Louis Block

• Hale Woodruff: The Amistad Murals

  –

  By Daniel Fuller

• Hana Yilma Godine: Substance in Ethiopia

  –

  By Charles Moore

• Nancy Graves: Synecdoche II

  –

  By Elizabeth Johnson