Gradient horizons, retro computer graphics, and emojis figure prominently in the animated “fables” of the Hong Kong–based artist Wong Ping, who made his New York debut this past February in the New Museum’s triennial, “Songs for Sabotage.” Shortly after, his video Dear, Can I Give You a Hand?, 2018—involving an elderly character navigating the death of his wife, the allure of his daughter-in-law, a severe case of diabetes, and an afterlife in a computer server cemetery’s porn site—premiered in “One Hand Clapping,” which is on view at the Solomon R. Guggenheim Museum in New York until October

Maija Kurševa is an artist, publisher, lecturer at the Art Academy of Latvia, program director for the Riga Zine Festival, and, last but not least, cofounder of the artist-run LOW gallery in Riga, Latvia. Her work encompasses various media, from comics to sculptures, attending to recurring characters and themes with a sense of humor. “Investigation,” an exhibition of Kurševa’s recent work, is on view at kim? Contemporary Art Centre in Riga through September 2, 2018.

MY RECENT DRAWINGS stem from a poem I wrote one winter in the countryside outside Berlin. I took out words and left only a few; some

In just the past year, Elaine Cameron-Weir’s diverse sculptural practice has adroitly conscripted materials including chemical lab equipment, World War II–era silk parachutes, frankincense, and labdanum, as seen in her works at the New Museum in New York and the Dortmunder Kunstverein in Dortmund, Germany, among other venues. Below, she discusses her site-specific installation A toothless grin. A STAR EXPANSION! GLOBE OF DEATH A graveyard orbit, 2018, which is currently on view at Storm King Art Center in New Windsor, New York, as part of the sculpture park’s “Outlooks” series of solo exhibitions,

The Otolith Group’s latest video, O Horizon, 2018, comes out of a long-standing research interest in Rabindranath Tagore and his founding of Visva-Bharati, a school in Santiniketan, West Bengal, India, which was meant to be a living laboratory and an experiment in art, life, and craft. Here, the founders of the group, Kodwo Eshun and Anjalika Sagar, discuss their motivations for shooting on location and the Tagorean ethics that animate the work. O Horizon made its debut at the Rubin Museum of Art in New York, where it is currently on view through September 17, 2018. The work will travel to the

The London-based artist and filmmaker John Akomfrah has three solo exhibitions on view in the United States this summer: “Signs of Empire,” his largest US survey to date, is at the New Museum in New York through September 2, 2018; “Sublime Seas” is on view at the San Francisco Museum of Modern Art through September 16, 2018; and “Precarity” is at the Nasher Museum of Art in Durham, North Carolina, until September 2, 2018. Below, Akomfrah discusses his embrace of collage and the digital, and the timely thread of migration that runs throughout his work.

THE STRANGE THING about having three shows

This summer (and beyond), the East End of Long Island, New York, is a prime spot to experience the sculpture, installation, film, and drawing of Keith Sonnier. An extensive but not exhaustive survey, “Keith Sonnier: Until Today” at the Parrish Art Museum in Water Mill runs through January 27, 2019. Concurrently, the Dia Art Foundation’s Dan Flavin Art Institute in Bridgehampton has restaged, through May 29, 2019, Sonnier’s seminal environmental work Dis-Play II, 1970, which was first exhibited in the artist’s debut solo exhibition that year at the Leo Castelli Warehouse. Simultaneously, Tripoli

The most comprehensive museum exhibition in the United States so far of artist and theorist Bracha L. Ettinger’s work is on view at the UB Anderson Gallery in Buffalo, New York, until July 29, 2018, featuring four decades of paintings, notebooks, and drawings, as well as three video works. Additionally, “Bracha’s Notebooks,” a solo show curated by Carolyn Christov-Bakargiev at Castello di Rivoli in Turin, will be on view in 2019. Here, Ettinger discusses the eclipse of the female subject in historical abstraction, the relationship between abstraction and compassion, trauma, and the remedial

Are.na is an online platform for creative thinking and collaborative research. Founded in 2011 by artists Charles Broskoski, Daniel Pianetti, and Chris Sherron, today Are.na is a flourishing web-based community. Artists use it to conduct research; teachers use it to share course materials and interact with their students; and museums and galleries use it to host blogs and interactive exhibitions. Here, the Are.na team discusses the platform and the ideas that underpin its structure and development.

WE BUILT ARE.NA INITIALLY FOR OURSELVES. A few of us were making art online, and some of our peers

Artist and activist Viva Ruiz’s ongoing project  Thank God For Abortion, 2015–, celebrates agency in the pro-choice movement. Ruiz’s provocative exclamation “Thank God for abortion,” which is paired with a peaceful dove design, provides a message of joy and gratitude about the spiritual connection of choice to charged conversations around abortion rights. Here, Ruiz parses the relationship between abortion access and queer rights, highlighting the project’s latest and largest sculptural and performative iteration: A Thank God For Abortion parade float that will be featured in the New York City

Over the past three years, the photographer Gauri Gill has worked with a group of thirty-three artists, including mask-makers and volunteer actors, from a community of adivasis—or indigenous people—in India’s Jawhar district. The resultant and ongoing series of staged color photographs, “Acts of Appearance,” 2015–, debuted at Documenta 14 in 2017. Here, Gill talks about the work, which is on view at MoMA PS1 in New York until September 3, 2018.

WHERE IS THE SPACE for artists outside of our city bubbles to be free to innovate and experiment? Perhaps this project has provided room to converse across

From June 21 through 28, as part of its East Village Series, Performance Space New York is reviving Them, a work the choreographer and dancer Ishmael Houston-Jones made in collaboration with the musician Chris Cochrane and the writer Dennis Cooper in 1986. Below is a reprint of a 2010 interview with Houston-Jones on the occasion of the work’s twenty-fifth anniversary production at PS 122.

THE FIRST TIME I heard about Chris Cochrane was also the first time I saw him play, at a club called 8BC in a destroyed building on Eighth Street between avenues B and C. They had liquor there, but it was more

Aliza Shvarts’s writings and artworks explore the possibilities and impossibilities of performance, race, gender, and class. Her solo exhibition “Off Scene” presents works from the past ten years and is on view at Artspace in New Haven, Connecticut, through June 30, 2018.

THIS SHOW IS ABOUT TESTIMONY—how the capacity to speak and be heard is gendered, classed, and racialized. Whose words carry weight? Whose speech precipitates action? Whose bodies bear assurances of trustworthiness, and whose incite doubt?

The title of the show is a metaphor for different kinds of marginalization: for the kind of