Never Enough
Kaitlin Phillips around the 20th Art Basel Miami Beach
BEST OF 2022
Sixteen critics, curators, and artists look at the year in art
Max’s Hammer
The banal spectacle of buying a Beckmann
Aline Kominsky-Crumb (1948–2022)
Dan Nadel on Aline Kominsky-Crumb
True Colors
How should Ana Mendieta’s story be told?
BEST OF 2022
Malik Gaines on “Just Above Midtown: Changing Spaces”
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PRINT Summer 1988
IT'S THE END OF THE WORLD AND I FEEL FINE
Christian Leigh
I just wanna get radical!
—Matt Archbold, professional surfer, 1987
I want my future work to operate in the interchange between Robert Smithson’s unfinished project and Michael Jackson’s face.
—Ashley Bickerton, 1988
IN FRANCE THEY CALL them enfants terribles. In Italy you might hear duri. Here in America, we call them bad boys. We find them in our movies, we find them in our literature. Rock music, since its inspired invention back in the ’50s, has perhaps been the most comfortable home for our bad boys. Its thesis is one of giving it all—chills, thrills, passion, and pathos—and bad boys and bad