Intimate Dislocations: On Lydia Ourahmane’s Barzakh
“Allow me, then, as we part company at this threshold [barzakh], to break the contract between one absurdity and another.”1…
“Allow me, then, as we part company at this threshold [barzakh], to break the contract between one absurdity and another.”1…
Four identical postcards displayed in the gallery’s entryway bear the stamped, enigmatic phrase “I GOT UP AT,” followed by the…
A metallic clamor pulses across an arrangement of marble blocks, steel beams, cables, and handmade musical instruments, before a rustling…
For more than a decade, Neïl Beloufa has produced a vast array of films and installations that propel viewers into…
Wild lilies, sand, sourdough bread, tuna cans, gold, eye shadow, desert dirt: these are among the distinctive materials that Rochelle…
What is at stake when doubt is our primary stance toward the world? “In Practice: Total Disbelief” at SculptureCenter stages…
Irena Haiduk’s “REMASTER” was inaugurated by the circulation of five hundred keys, which physically open an exhibition that otherwise remains…
In Elaine Cameron-Weir’s “strings that show the wind,” three sets of paired sculptures stand, as if halted mid-procession, atop an…
From the garden behind the gallery, Alex Ayed summons a flock of pigeons that obediently shuffles its way into the…
The Whitney Biennial has historically been an occasion for artistic protest and institutional critique, and this year’s iteration proved to…
What is the place of comedy in a groundless world? Amid the volatility of contemporary society, where claims of truth,…
Lydia Ourahmane’s exhibition “low relief” at Bodega is comprised of a set of sculptures that suggest an emergence of the…
Aslı Çavuşoğlu’s first US solo museum exhibition culminates in an immense blue fresco that subsumes the New Museum’s lobby gallery.…