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British critic Jonathan Romney once wrote in The Independent, “We shouldn’t mistake Apichatpong [Weerasethakul]’s true nature as a hyper-sophisticated modernist with complex,
Is she an innocent woman or a femme fatale? The question lies at the heart of Tracey Snelling’s elaborate multimedia installation Woman on the Run, 2008–11, which follows the f
Alienation, it would seem, can be a creative force for inclusion. And, as each of the artists in “The Displaced Person” proves, one is rarely found without the other. Freud vie
Priceless artifacts from the British Museum’s vast collection come into dialogue with Grayson Perry’s sardonic wit in “The Tomb of the Unknown Craftsman.” Perry explores hi
There’s a housing crisis in New York City. On a touristy theater district block behind a chain-link fence, an assembly of asphalt-shingled rooftops pokes up from the ground. No w
Massimo Vitali’s large-scale photographs of beachgoers in Turkey, Greece, and Italy are, in a word, lighthearted. The title of the show hints at a pastoral other-place, loosely m
If we consider the title “Absentee Landlord,” we might get the suspicion that this exhibition foregrounds its curator, John Waters. And in many ways it does. Invited by the Wal
The term post-critical has been thrown around in recent years to describe the ideals of hybridity and inclusivity governing much contemporary art. In this context, the exclusive ca
What purposes can monuments now serve, in a culture so full of messages, meanings, and temptations? That question underlies the exhibition “Portable Monuments” at Galerie Gabri
Buster Graybill’s exhibition “Progeny of Tush Hog” takes advantage of a symbiosis between Minimalist form and the importance of setting in a way that is both playful and smar
George Ortman’s math doesn’t always add up. His colorful geometric relief paintings, while seemingly well behaved, are anything but. Diamonds, octagons, arrows, and the occasio
Slowed to near stillness, the eight video portraits on view in Brian Bress’s latest exhibition, “Under Performing,” show their subjects in various states of physical duress.
