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Spanning installation, drawing, photography, performance, and video, this ambitious exhibition brings together sixteen artists—almost all of whom were born after 1970—whose wor
Jean-Luc Moulène’s yearlong exhibition “Opus + One” comprises three distinct modules dispersed throughout the vast building. The most beguiling of all is the large gallery o
Rejecting the tyranny of dreariness typical of London in midwinter, this show expectantly embraces transience in nature. Films by various artists and a group of paintings by Selma
Three of the twenty-five works in Jerzy Janiszewski’s first solo exhibition feature the logo he designed for the Solidarity trade union movement in 1980, which ignited opposition
The cascading alliteration in the title (“Period Pieces, Puppies Paintings, Prototype, Placeholders”) of Sebastian Black’s latest show suggests that a comprehensive selection
“Young girls? I don’t give a damn. I like small feet, I like my fabulous house with cool stuff in it.” This was John Currin’s impression, from a 2001 interview, of the stau
Harry Callahan began making photographs in 1938, at the age of twenty-six, teaching himself to use a camera while working as an accounting clerk for General Motors in Detroit. The
The Seoul Station, a major railway station built in 1925, witnessed the sociopolitical upheaval of modern Korean history until it closed in 2004. Last year it was resurrected as
The key to Emilie Halpern’s second solo exhibition at this gallery turns upon the relationship of what one encounters on the floor to that on the walls. On the floors of two sepa
Curator Chris Murtha’s tightly packed exhibition handles with grace what might seem to be an unimaginative enterprise: displaying still-life photographs in a horticultural societ
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
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,
