Among recent artwork and global exhibitions addressing precarious migration, Janet Biggs’s Overview Effect, debuting in the U.S. at Cristin Tierney Gallery, is especially seductive.

I first came across the name Dash Snow when I was trying to understand why the heir to the Schlumberger oil fortune, had provided a private jet for Texas Democratic Congressman Mickey Leland to meet with Fidel Castro in 1979

“Do you get vertigo?” the curator of the exhibition asks me as she pulls open the Velcro seam of the inflated blob. Inside, the nylon fabric lifts around me, plumped by an air stream pumped in near the floor.

Standing in front of Frank Bowling’s Regatta (2017), I want to wade into its hazy expanse, shimmering with electric pink, marine blue, tangerine, and flecks of silver, and to tongue the lozenges of beeswax dropped on the canvas like a line of boats.

The combination of law and hedge in the word nomos is quite manifest in a fragment of Heraclitus: … ‘the people should fight for the law as for a wall.

The scenes have the indelible presence of parable or myth: There was a sick woman who sought out a healer. There was a man building his house. There were two friends, sun and moon, who set out one day on the road

“I would like people to sit in the bleachers,” Adrian Piper tells us, “and think of where they are sitting as an amphitheater of the sort that one would sit in to watch Christians being devoured by the lions.”

MATERIAL WITNESS WITNESS MATERIAL opened at the Knockdown Center on the twenty-seven-year anniversary of the beating of Rodney King.

For nearly forty years, Hannah has worked in the figurative, narrative tradition of Winslow Homer or Edward Hopper.

Club 57 maps a set of underground attitudes and practices that have now gone mainstream.

Every era has a gadget that speaks to the spirit of the times.

“The T-shirt made a kind of social debut in the 1950s, a literal ‘coming out’ from concealment as an undergarment to attitude-intensive outerwear,” according to artist and satirist Pippa Garner.

Works on Water is the inaugural triennial devoted to works made on, in, or with water.

In these images, Spence provides a first-person account of the female body and interrogates the ideological systems that govern and extend outside the self.