By now it’s come to this: you’ve baked six different kinds of bread; you’ve grown tired of your colleagues’ stabs at humor and their zany Zoom backgrounds; you’ve finally mastered your kids’ remote ...

We hope these will help create even the smallest shift to make things a bit more bearable. It’s okay to feel grief, anger, confusion, and to feel exhausted, unfocused, and unmotivated. Just like this ...

An homage in three acts: Louise Lawler shares a postcard, Christopher Williams remembers Baldessari’s studio, and Stephen Prina sings one of the great Conceptualist’s paintings. Christopher Williams, ...

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“It’s like a fellow I once knew in El Paso. One day, he just took all his clothes off and jumped in a mess of cactus. I asked him that same question, ‘Why?’ He said, ‘It seemed to be a good idea at ...

Part 1. Searching for Iemanjá: On the Move If you’re looking for Iemanjá in Salvador, Brazil, you’ll find traces of Her wherever you go. In the touristy Pelourinho neighborhood, Her smiling face ...

“Everything we see hides another thing, we always want to see what is hidden by what we see. There is an interest in that which is hidden and which the visible does not show us. This interest can take ...

What does the term “ blockchain ” mean to you, and could you ever imagine it being a part of how you engage with art? Guided by artists working at the cutting edge of technology, and enabled by its ...

Elizabeth Catlett ’s terra cotta sculpture Mother and Child stands less than a foot off of its pedestal, but it feels much larger. It conveys an expansiveness that comes, to my mind, from the uncanny ...

In her recent study Worldmaking after Empire, Adom Getachew presents a powerful argument for understanding the political project of decolonization in the mid-20th century through a reconceptualization ...

In March, Neri Oxman: Material Ecology opened at MoMA. The installation is organized around seven projects, each represented by several artifacts, prototypes, and videos displaying the process. Each ...

I do not remember when I first met Richard Serra. But I do remember the first time I was bowled over by his work. It was in the fall of 1996 when I saw the monumental 58x64x70—the title describes the ...