The point is: We remember traumas, and it’s crucial that we do, and not foist off our responsibility onto mute things that do not answer when we call. 

Depth and wonder abound in shows featuring artists Alexis Rockman, Stephanie H. Shih, Raoul De Keyser, Roxanne Jackson, and Tabboo!

Maybe Jackson's ceramic "monsters" are just creatures who look like they shouldn’t belong — and in her world-building Jackson has made a place where they do.

Those empowered to supervise large swaths of humanity too often dehumanize us, whether through the levers of state, financial, or political power. 

The idea of public criticism as “talking shit” rather than a collaborative venture permeates the arts, and it’s ultimately counterproductive.

From the visual pleasures of Mary Sully to the cultural critique of Gary Simmons, to a lesson in Haitian art history, there’s plenty of great art to see right now.

Gary Simmons’s art suggests that rather than make progress our culture more often makes elaborate circles over and over again on the ice until the music stops.

While Scrawlspace is a deeply inquisitive and well-researched exhibition, the premises are in some instances cliché and a bit contradictory. 

While his paintings follow the rules of linear perspectives, Niles uses the materiality of the paint itself to pull viewers into the compositions.

The exhibition No Justice Without Love poses questions about the roots and limitations of our civic imagination.

We want public art to interrogate social injustices, fill us with love and joy, and brush aside human flaws, but it rarely ever lives up to these expectations.

The "Loophole of Retreat" symposium at the Venice Biennale demonstrated that the personal is not only political; it’s also where most of humanity lives.

At a moment when the future of this country seems precarious and uncertain, A Movement in Every Direction demonstrates that Black Americans have been among this nation’s most stalwart heroes.

These are what have been for me the most troubling and beautiful aspects of being a full-time critic and writer.

Richard Yarde’s watercolors make a historical document into something personal, wistful, more a vision than a visual fact.

Unlike the more celebrated painters around her, she didn’t resolve herself to working the same issues over and over; she kept asking herself other questions, pushing the paint to do what it had not quite done before.

The images in Vik Muniz's exhibition Scraps tempts that implicit human tendency to fill in the blanks, complete that which is partial, fragmentary.

Jones’s playful asymmetry doesn’t seek so much to declare what order should look like as it is simply engaged in ongoing negotiations around balance and presence.

Perhaps these paintings are what it feels like for the artist to be in a state of not being harried, anxious or in deep existentialist dread.

Most everything in this show, is unsure, a maybe, might be there, might not be, could fulfill your hopes, might leave them by the side of the road.

What is wonderful about the online photography exhibition What Have We Stopped Hiding? is that one is given entrée to the internal monologue of the artists featured in the show.

The close, careful, and subtle observation I found this year is representative of precisely why I continue to gravitate to this fair.

When we honor King publicly, as many in the art circle did on Monday, we use these moments to do more than just remember and pay tribute.

As much as I appreciate the collective’s culture jamming initiatives, I don’t know that their putative premise ever bears meaningful fruit.

What unites all these projects is a clear sense that they exist in a world unto itself: the digitized space.

A thought experiment I sometimes engage in is to ask myself what kind of god would make the world that is being represented in the work I’m seeing.

Michael Mandiberg’s Timeframe exhibition gives the viewer a window into a period of time when they had to deal with the breakdown of their own body.

Wifredo Lam developed a style that dances between figuration and abstraction, but the selected compositions at Pace gallery tend to repeat.

If a digital site is described as an “exhibition” I go to it wanting a visual experience animated by lively and inventive juxtapositions and means of navigation.

"Behold" here, in this exhibition, is an invitation to see the intertwining of aesthetic concerns and the rigors of political and historical exploration.

Her witchery is mischievous, aiming to trick the beholder into a quite fragile enchantment.

BOCA RATON, FL — One of the first things I see as I walk into the gargantuan Schmidt Center Gallery on the campus of Florida Atlantic University is a wall assemblage that in the aggregate, from a distance, looks like the profile of a fish gaping its mouth to swallow some floating trinkets. I get [...]

Sounding Board does not do what I expect from contemporary performance with its staged acting and scripted plot and dialogue, but it still succeeds.

Unless you were already familiar with Bey's documentary work, the horror he refers to might not be recognizable to you.

We are waiting for spectacle and when the quotidian, yet incongruous actions occur I wonder whether there is any real payoff coming.

Jean Shin's "Fallen" bids goodbye to the longevity we thought we had and mourns it, so that we might let it go.

My sense is that people come to this museum and this show wanting to learn other histories by having their way of looking tutored and trained.

This exhibition could use some more acreage to convey the feeling of standing at a doorway leading to a universe sparkling with abundant energies.

Six artists provide distinct ways of seeing the Caribbean in its proper orientation.

The intentionality of Booker's abstraction gives me the impetus to discuss something about the current zeitgeist that’s been on my mind for a while.

The French television program does a good job exploring how people cope with work-related drama and its impact on relationships.

The artist uses her technical and artistic gifts to render a clear vision of women who defy stereotypes.

Art fairs always seem to privilege and fete consumptive behavior. But they also give me an opportunity to reconnect, to revisit, to see an artist's work, and share the brilliance of my community.

The second edition of the Upstate Art Weekend offered glimpses of some of the myriad flavors of art in the Hudson River Valley.

In this small art exhibition, the rich figural painting tradition of this southern African nation shines through.

In Art Hiding in New York, you can explore the art all around a city that can't seem to get enough of it.

Confronted with a new national consciousness around racial inequity, two New York City art exhibitions focus on mourning with varying degrees of success.

Rakowitz has installed at the Wellin a partial reconstruction of “Room H” within the Northwest Palace of the ancient Assyrian city of Nimrud.

In Hammons’s body prints, the veteran artist melds method, intention, and significance.

The Twenty Twenty exhibition at the Aldrich uses using hand drawing to record and describe the cascade of catastrophes that made 2020 feel like an entire decade.