Feted as the “Queen of the Bohemians,” Abercrombie saw herself as a kind of jazz witch forging dream visions into a strange, eerie, and occult body of work.

Collaged scraps of cloth or crumpled paper in Andrews’s portraits were a subversive and insistent means of encompassing his own non-White, non-urban roots. 

Sylvia Sleigh challenged the traditions of portraiture by letting those she adored be their glorious selves.

A group exhibition at the Aldrich Museum frames gardens as a sites of nurture and control, tradition and innovation.

Centered on an Iranian community in a fictional Winnipeg-Tehran hybrid, the absurdist comedy is a joyous depiction of emphatically unalienated people.

The artist takes up the devastation of those whose lives have been shattered by the plummeting value of the taxicab medallion.

The artist makes the air hum with the previously unperceived dimensions of ordinary things, from the linework of movement to the music in everyday situations.

Through his mixed media artworks, Paul Gardère invites his audience into a meaningful and personable dialogue and offers a glimpse into his life.

The artist’s felines, sculpted in ghostly white enamel-glazed clay, infuse the space with a quiet vitality, bridging the mystical and the everyday.

Working with, alongside, and against conventions of portraiture photography, the artist manipulates the gaps between image and object. 

The complexity of Burckhardt's work is easy to overlook, because he calls attention to neither his mastery nor his labor.

The American photographer offers a singular fusion of literary and photographic art in her autobiography Black Box.

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. 

Electric Dreams at Tate Modern shows the sheer extent to which human imagination and inventiveness harnessed technological progressions in the infancy of computing.

Her work integrates contemporary labor strikes into the visual language of social realism, asserting that these efforts are not anomalies but regularities.

Over to You is an ever-evolving meditation on images by the art critic and his youngest son, two men linked by blood and art.

Because the waywardness of his paintings is a product of its unspoken logic, his marks and variations are performing precisely the right roles.

Marina Perez Simão systematizes nature’s motifs and distills them into interlocking volumes and color bands in paintings as cerebral as they are sensuous.

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.

Taking on Thomas Cole’s epic The Course of Empire, the New York artist asks if we’ve all had a good run.

From a large Wigstock banner to more intimate self-portraits, Tabboo!’s art sparkles anew in two contemporaneous exhibitions.

She rescues objects from the garbage bin of mass-produced memory and reimagines them as art.

Catherine Gund’s Paint Me a Road Out of Here uses the artwork to tell truths about the US carceral system.

Invisibility: Powers & Perils raises exciting questions around racial, technological, and ecological invisibility, and leaves us asking for more.

By blurring the line between individual and collective memory, the works demonstrate the Panafrican ideal that our experiences are part of a shared narrative.

The late artist’s work has always bristled against the boundaries of categorization, and it does so particularly here, in an exhibition centered around Afrofuturism.

The pair tell a grand drama of depravity and degradation, sometimes enacted by official powers like Church and State, other times by rogue players.

In his first exhibition in nearly a decade, the artist-builder presents sculptures that are alternatively strange, optimistic, and critical.

In Black in Blues, Imani Perry reaches to the height of the sky and the depth of the ocean, casting the history of blue as one of both triumph and tragedy, possibility and limitation.

Nolan Oswald sees the pre- and postcolonial worlds as contemporaneous and interlocking.

The artist has a point: Why is aesthetic pleasure often relegated to the sidelines of art? Why paint rotting fish when you can paint pretty femmes?

His works are distinctly earthly endeavors, showcasing the human hand in all its striving.

Artist Serena Chang helps us see that in the act of remembering we’re often uncovering more than our own past.

Whether it’s catfishing clueless rich guys, catching sex predators on YouTube, or assisting a woman in conceiving a child, questions of legality often have little to do with morality.

The artist's new exhibition, her first since graduating from art school in the early aughts, reveals her deep love of art history.

A mini-retrospective of the feminist collective raises the question: What can be learned from this work that applies to today, and is this an effective method of making change?

Antin deconstructs both the self and the image as fraught in her staged photographs, and the results are less a punchline than a biting satire.

An artist and poet who traversed multiple cultures, Adnan’s creations are alive with both multiplicity and instability.

In a convulsing world with dwindling digital spaces for connection, can Relational Art offer lessons on building community and meaning?

A new book spills the tea on the 20th-century London art scene.

This one-room exhibition is a good reminder of how this anonymous group of artists changed how we saw the art world. 

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

John Divola asks us: What am I looking at? Is it real? Where does that distinction now lie, given the technology required to make a photograph now?

​​In the New York painter’s lyrical scenes, the pearl serves as a metaphor for turning pain into treasure. 

It’s clear that this exhibition was put together by a bunch of absolute nerds — and that’s a compliment of the highest order.

That Bernstein’s political art is still so relevant is chilling, but like the first time around, it remains a source of comfort that we have her to lead us through.

Sahib brings his minimalist aesthetic to the maximalism of fetish bars and nightclubs, dark spaces in which unruly bodies and complex social codes coalesce.

Stout achieved an ascetic sensuality in his geometric abstractions, a paradoxical synthesis of restraint and hedonism that is unmatched by any of his contemporaries.

Yaloo’s multimedia work addresses the intersection of human and non-human consciousness, and the gap between technological advancement and spiritual practices. 

The film was made to agitate for the release of the wrongly imprisoned Indigenous activist. Despite last-minute edits after his clemency, it still shows some cracks.