Yet again, the New Museum has fashioned an exhibition with a nearly limitless collection of work. Encapsulating absurdly prodigious and outrageously stimulating works, Raymond Pettibon: A Pen of All Work is a blistering retrospective of Pettibon’s over five-decade career, and is the artist’s first major survey in New York City.

Walking into the meeting hall at Artists Space Books & Talks is like stepping into community-based organizing center with the energy and excitement of a rock concert. One is not only greeted by a crowd of young artists and activist, but immediately inundated with a spate of hand-painted banners—battle flags for social justice and equality, as it were.

Black Pulp! presents a historical survey of how African American writers, journalists, poets, activists, artists, and organizations utilized printed media to offer “counternarratives to Jim Crow era stereotypes.

Critique seeks the truth content of a work of art; commentary, its material content. The relation between the two is determined by that basic law of literature according to which the more significant the work, the more inconspicuously and intimately its truth content is bound up with its material content.

In a recent conversation between art historian Claire Bishop and Cuban artist Tania Bruguera at the Graduate Center of the City University of New York, Bruguera described her work as funny.

Heavy grunting, rattling weights, counting reps, men emphatically pumping iron, and the iconic voice of Arnold bumptiously stating, “You have to do everything possible to win,” are the vociferous sounds that echo across the showroom space and studio at Dieu Donné.

Walking through Cameron Rowland’s solo exhibition, 91020000, is a sobering experience. Here, the Philadelphia-born artist, who has been exhibiting in galleries for only a few years now, presents a body of work that is as disquieting as it is inspiring. The artist, known for displaying ready-made objects that are obtained through abstruse economic exchanges, showcases work that transcends its own objecthood as commodity, revealing a language (and history) of social and racial hierarchies.

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.