This is an astonishingly relevant, urgently important show that reflects on what it means to be human in a time of encroaching political darkness.
This is what happens with an excess of hyperrealism.
Let’s read the tea leaves on the upper end of the food chain.
This is among the best Met roof sculpture installations since the program began in 1987.
As a system, art fairs are like America: They don’t work and no one knows how to fix them.
Including the new home of White Columns.
The ultimate guide to experiencing the high.
An impressive painter’s debut show at Karma gallery.
Scribbles, jots, smears, and smudges that make my knees buckle.
It helps proves my theory that 95 percent of public sculpture is crap.
Santiago Ramón y Cajal is the only Nobel Prize winner in history — in physiology and medicine in 1906 — to also be a truly great artist.
Today, the pioneer of artistic appropriation can be regarded as Instagram before Instagram.
Walter never found the recognition he was looking for; he yearned to have his work seen and acknowledged in his lifetime.
In spite of claims otherwise, Saul does not make “political art.”
But we must not blame artists for this curatorial belaboring.
Kehinde Wiley and Amy Sherald join the canon.
In her photographs, I see the rotten social malignancy that perpetuates entrenched racial discrimination.
When I first saw Cattelan’s toilet I considered it an obvious comment on the market. Yet at the White House it would have much more charged meanings.
When you look at the eight prototypes as art, what do you see?
The newly fortified ticket price is a drag. But what got us here is worse.
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