It (almost) seems that it’s a career requirement for artists to do time as security guards at one of New York’s major museums. The duo that make up the collective Abang-guard are two such artists, even slipping their day job into their collaborative name, which, also a play on avant-garde, incites revolutionary thoughts.

Eclipse (Amazon, September 7, 1858) is a three-channel video installation that is Janet Biggs’s most recent project. Visually ravishing and ambitious, it plunges us into the rainforests of the Amazon and Costa Rica.

It might seem an odd combination, humanity’s techno past paired with goddess figures, but that’s what some artists can do: find idiosyncratic, unlikely pairings of ideas and objects to consider. William Corwin is one such artist

Days of Awe is the resounding title of Susan Bee’s latest solo show at A.I.R. gallery.  While you can’t judge a show by its title, this one is particularly timely, with its apocryphal reverberations, its meaning gyrating between a best-of-times, worst-of-times scenario, depending on who’s doing the spin.

The dozen works on view at You What? by the late feminist icon Ida Applebroog seem like more, since most are multi-paneled, their format suggesting storyboards, comic strips, or filmstrips, among other storytelling devices. They take us back to a period when women artists were finally thought to be gaining traction, when the Guerrilla Girls were teaching the art world to count all the ways women in the arts were still being sidelined.

What is an art critic today, then? What is the role of art criticism, and how do critics survive? What is criticism’s (and the critic’s) impact on the work and career of artists and the culture at large? And, shifting to the perspective of the critics and a question much less often asked, what impact does their choice of career have on their lives, and why choose such a non-lucrative vocation/avocation that is ironically, tauntingly so privilege-adjacent?

It is immensely satisfying to be in the company of the eight resplendent canvases on panel by veteran New York abstract artist Joanna Pousette-Dart. Each large scale painting—one per wall—is a showstopper.