Eleanor Antin, “A Retrospective” Mudam, Luxembourg
Eleanor Antin’s Blood of a Poet Box (1965–68) assembles, quite literally, the blood of a hundred poets: samples on glass…
Eleanor Antin’s Blood of a Poet Box (1965–68) assembles, quite literally, the blood of a hundred poets: samples on glass…
Recalling, remembering, collecting, and dealing with questions of cataloging, preservation, expertise, musealization, and public presentation with a gaze and a…
Mies van der Rohe’s idea for the Neue Nationalgalerie in Berlin was based on an earlier project for which he…
“People Planet Profit” brings together several groups of works from the past decade, which Peter Fischli has combined into a…
“Magical Realism: Imagining Natural Dis/order” — which reconsiders our relationship to the planet at a time of climate emergency —…
How do objects speak when language falls short? What does it mean to cross — not just borders, but generations,…
This September, Centre Pompidou will close for five years, beginning an extensive renovation process that includes asbestos removal and essential…
Are we the body, or are we the soul? This age-old philosophical dilemma is at the heart of a striking…
Just off the coastline of Asia Minor, the Greek island of Leros is a palimpsest of colonial history, layered with…
Located far from the city center, on the south side of Hong Kong Island, Empty Gallery is tucked into the…
Spread across three venues, Roni Horn’s exhibition at Raffaella Cortese in Milan celebrates the gallery’s thirtieth anniversary and its long-standing…
A recurring refrain in recent decades is that painting is dead. And yet, it continues —sometimes loudly, sometimes zombified. “Painting…
Klára Hosnedlová’s “embrace,” which inaugurates three years’ worth of Chanel-sponsored programming in the Hamburger Bahnhof’s main hall, foxes formal categorizing…
What are the stakes of insisting upon political hope, in all its felt potential for redeeming past injustices, when progressivism…
In Kerry James Marshall’s seminal 1986 work The Wonderful One, the figure is an ineffable silhouette: its dimensionality is reduced…
The Hammer Museum group exhibition “HEAD FOR THE HILLS!” takes its title from John Knight’s 1974 untitled slide projection piece.…