Sidelined for centuries, the voices of women strengthen. And protesting for decades, a former Guerilla Girl’s work finds new relevance.

The interlinked projects of Kaari Upson’s first major museum show in New York, Good Thing You Are Not Alone, methodologically explore various facets of an individual’s existence within both physical and phantasmagorical realms.

In her essay “The Arts and Crafts Movement in America,” tracing the spread of the international movement from Europe to the U.S., Monica Obniski¹ draws connections between the movement’s emergence and the birth of industrialization in England, outlining the socialist leanings, artistic breakthroughs, and global impact on associated art communities over the years.

Straddled between 19th-century France and 21st-century America, The Arcades: Contemporary Art and Walter Benjamin at the Jewish Museum is an enormously ambitious undertaking. An elaborate visualization of Benjamin’s monumental last work of writing, the exhibition expands upon his critique of Parisian culture and politics during the 1930s to invite comparison with today’s America.

While the beginning of the First World War is perhaps the most politically significant event associated with the year 1914, an intriguing and rather unconventional book of poems called Tender Buttons by Gertrude Stein began making a lot of noise around the same time.

Prior to the opening reception of the writer/artist's new show at 1:1 gallery, (Vanishing Art & Hoodoo Metaphysics, September 23 – October 20) a group of students the Art Criticism and Writing M.F.A. program at the School of Visual Arts drove upstate to speak with Peter Lamborn Wilson.