Houston

Joseph Cohen

Prescriptive art can often unintentionally provoke apathy in the viewer—the adherence to a “rule-based” agenda may come across as shallow, if not didactic, pointing to self-i

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Houston

Robert Pruitt

A reference to the first DC Comic to feature a black superhero, Robert Pruitt’s new exhibition, “The Forever People,” attempts to harness the attitudes of the hippie generati

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New York

Marlo Pascual

The line that lies between sculpture and photography has been explored to the point of near erasure in some recent art. In Marlo Pascual’s first solo exhibition at this gallery,

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Copenhagen

Pia Arke

While most contemporary Danes are not proud of the colonization of Greenland, a postcolonial self-examination has been strikingly absent from the Danish art scene. The majority of

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Boston

Liz Glynn

Following The 24 Hour Roman Reconstruction Project, her contribution to the New Museum’s first triennial in 2009, Liz Glynn continues to explore the fraught relationship between

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New York

Daniel Bozhkov

Where traditional institutional critique often dissatisfies with self-congratulatory rhetoric or a failure to engage its audience, Daniel Bozhkov’s project at this museum engulfs

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New York

Markus Schinwald

Markus Schinwald’s first solo exhibition in New York is subtle yet emphatic in its attempt to induce a state of unease in the viewer. An installation featuring large white pillar

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Brisbane

Sixth Asia Pacific Triennial of Contemporary Art

When Queensland Art Gallery’s fifth Asia Pacific Triennial opened in 2005, it could not help but play second fiddle to the vast new Gallery of Modern Art it inaugurated, where it

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New York

Cornelia Parker

If every .44 Magnum belonged to Cornelia Parker, the world would be a better place. In this exhibition, the British artist finds beauty not simply in the mundane but in the murdero

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London

Ryan Mosley

Ryan Mosley likes to borrow freely from art history. In his recent paintings, there are cartoonlike blobs of flesh that recall Guston, Gauguinesque landscapes filled with garish co

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New York

Skyler Brickley

Nearly every work in this small exhibition contains several, vertical rows of rough quadrilaterals––the syncopated fruits of Skyler Brickley’s roller. The tension between the

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Cape Town

“The Marks We Make”

In “The Marks We Make,” the drawn line is out for a walk. This group exhibition catches the mobile medium in an exploded field, framing the mark expansively as a cognitive and

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