Hunter Reynolds is a New York–based artist and AIDS activist who for over three decades has used performance, installation, and photography to rethink and expand gender, politics, and sexuality. In 1989, he cofounded ART+ Positive, an affinity group of ACT UP, of which he was an early member. Here, Reynolds discusses his alter ego, Patina du Prey (1989–2000), who is the main subject of the exhibition “From Drag to Dervish,” on view at P.P.O.W gallery in New York from November 21 to December 21, 2019.

PATINA WAS BORN ON OCTOBER 21, 1989. I was documenting the feminization of my male face—putting

For many years, a commercial photographer named Alan Schaefer (1941–2008) privately created an extraordinary body of work: a series of over 9,000 Polaroid self-portraits of an exuberant woman known as April Dawn Alison.

While little is known of Alan—neighbors recalled he loved jazz and baseball—April Dawn is well documented in many and various domestic performances: as a French maid, bikini model, bondage partner, and more. Several hundred of these Polaroids are being presented publicly for the first time in an exhibition at the San Francisco Museum of Modern Art, organized by curator Erin

Choreographer and director Annie-B Parson is a force of nature who’s having quite the season. She created the elegant, joyous numbers that propel the great David Byrne and his vibrant cohort of musicians and singers through his rock-show-cum-Broadway-musical, American Utopia, on at the Hudson Theater through February 16. Her company Big Dance Theater, which she cofounded with actor/director Paul Lazar and performer Molly Hickok almost thirty years ago, will present a trio of recent works under the title The Road Awaits Us at NYU’s Skirball Center on November 8 and 9. And last month, Parson

IT’S DIFFICULT FOR ME not to think of Matt Wolf as a queer filmmaker, because he’s the first one I ever knew personally. He is also the first openly gay man I ever met. When I arrived in Manhattan from northern New Hampshire in 2001 at the age of eighteen, any notions I possessed of urbanity or sexual identity I had imagined in a bucolic vacuum. A chance introduction to Wolf, then a sagacious nineteen-year-old from San Jose, California, not only initiated my kinship with other flesh-and-blood homosexuals, but also affirmed the importance of an intellectualized communal identity. While Matt has

Since the late 1980s, Pat Steir has slung her paint from a loaded brush, letting oils arc and flow in a signature gesture of both creation and sublime surrender. For her latest exhibition, at the Hirshhorn Museum and Sculpture Garden in Washington, DC, the American artist has filled the building’s rotunda with a new suite of thirty paintings that, together, form a color wheel—an art fundamental that dates back to the early eighteenth century. “What Goethe was really pursuing was not a physiological but a psychological theory of colors,” Wittgenstein once wrote. The same might be said of Steir’s

During this interview, Kiki Smith was multitasking, wrestling with a cat collar and making granola in preparation for an imminent trip to Europe. The American artist was crossing the Atlantic to finalize several exhibitions, including a survey at the Monnaie de Paris that will be on view until February 9, 2020. The show features one hundred works—including two courtyard-placed sculptures—created between 1980 and this year. The Paris mint is a fitting location in which to spotlight Smith’s work, given her personal interest in coins and medallions, which she happens to collect. Using what she

For “The Shape of Shape,” a rollicking salon-style exhibition drawn from the holdings of New York’s Museum of Modern Art and part of the newly expanded museum’s “Artist’s Choice” series, Amy Sillman has selected around seventy-five works that, regardless of medium, movement, or period, share a fascination with shape. Like MoMA’s newly rehung collection galleries, the installation, which opens today and runs through April 20, 2020, reconstrues modernism through wide-ranging, unlikely juxtapositions. And like Sillman’s own paintings, it is intelligent, risky, and giddily perturbed, brimming with

Since the 1980s, the British artist Suzanne Treister has blended history and speculation in ways that many are moved to call hallucinatory, if not slightly paranoid. Her paintings and pioneering digital works have drawn on her interest in systems of observation and belief, from surveillance to theoretical physics. Often diagrammatic and filled with wordplay, her early pieces anticipate the technopolitics of the twenty-first century and presage postinternet-era arcana like a future-tense Hilma af Klint. On September 19, 2019, London’s Serpentine Galleries launched Treister’s augmented reality

Maren Hassinger very nearly became a dancer. As it happened, two fortuitous turns in her education in the 1970s led her to create sculptures hewn of fibrous metal and knotted detritus. From her early work in Los Angeles—including the 1979 installation of twelve wire rope “trees” near the Mulholland Drive exit ramp—to her recent “mandala” of repurposed pages from the New York Times, questions of ecological and spiritual consciousness have long underscored Hassinger’s practice. She is known for works in a range of media as well as for her collaborative bent. Following last year’s retrospective at

Ebony G. Patterson’s slow and monumental video installation …three kings weep…, 2018, debuted in her solo exhibition at Pérez Art Museum Miami last year and is on view at the Speed Art Museum in Louisville, Kentucky, until January 5, 2020, before it travels to the Nasher Museum of Art in Durham, North Carolina. For one night only, the work can also be seen in Toronto during “Nuit Blanche,” a twelve-hour event on October 5, 2019, where visitors can glimpse nearly ninety artworks set around the city. (Patterson’s work will be on view in the Scarborough Civic Centre’s rotunda as part of the group

“Capitalism is profoundly illiterate,” observed Deleuze and Guattari in Anti-Oedipus. Since the mid-1980s, Tony Cokes has been composing multimedia installations that collage pop music, archival film footage, and critical theory. While demanding close reading from viewers, his work also suggests the stakes, and even hazards, of legibility. For one of two commissions in his survey at Goldsmiths Centre for Contemporary Art (CCA) at the University of London, Cokes quotes from filmmaker and scholar Kodwo Eshun’s 2018 Mark Fisher Memorial Lecture, which took place at the school around a year after

Last month, journalist Ciara O’Connor took to social media to point out the disparity between the language of “agency” and “accountability” used in Tate Modern’s exhibition “Olafur Eliasson: In Real Life” and the show itself, which was partially blocked to her as a wheelchair user. O’Connor’s account highlights how the art world’s advocacy for intersectionality rarely expands beyond social, sexual, or political ties to cover physical or neurological forms of difference as well. While the “eccentric genius” trope persists, today’s artists are expected to deliver service with a smile as they