With wry wit and deceptive literalness, Alice Shaw has been making work for over twenty-five years that cleverly focuses on a few core issues: doubles, photography, and the hegemonic history of landscape photography in her native Golden State. Her current exhibition at Gallery 16 in San Francisco, “Cloned,” is on view through May 26, 2018. Here, among other things, she reveals some reasons for her current focus on sheep.

IMAGERY OF FARM ANIMALS seems somewhat unpopular these days. I was watching some Charlie Chaplin and Buster Keaton films a while back and noticed how much animals used to play

AT THE NATIONAL MEMORIAL for Peace and Justice, which overlooks downtown Montgomery, Alabama, more than eight hundred steel monuments hang, bearing the weight of over four thousand lynchings. A few blocks away, the Legacy Museum: From Enslavement to Mass Incarceration chronicles the history and continued presence of racial violence in America. Opened in April, these two cultural sites were created by the Equal Justice Initiative (EJI) under the leadership of Bryan Stevenson in order to rewrite, and set right, the narratives regarding the African American experience. EJI was founded in 1989 and

Katinka Bock is a German, Paris-based artist whose debut exhibition in Scotland, “Radio Piombino,” is currently on view at the Common Guild in Glasgow through July 8, 2018. The show is presented as part of Glasgow International 2018, which runs until May 7, 2018. Here, she discusses her approach to materials and sites, as well as the effects of natural processes, such as the weather, on her works.

THE INSIDE AND THE OUTSIDE, the dry and the wet, the hot and the cold, the visible and the invisible: these oppositional modes have dramatic effects in the world. However, I want to bring my work back

As a cofounder of A.I.R. Gallery in New York and Heresies: A Feminist Publication on Art and Politics in the 1970s, Harmony Hammond was at the forefront of a feminist revolution in contemporary art. From her early sculptures that incorporate gendered notions of craft, such as her series of “Floorpieces” and hanging textile sculptures, to her book Lesbian Art in America: A Contemporary History (2000), to her more recent, almost monochromatic paintings, Hammond has expanded the possibilities of what might be considered queer art, often championing the idea that abstraction has the power to signify

Everything old is new again, and vice versa. Elaine Reichek is a New York–born and –bred artist who has long engaged with some of the women of ancient Greek myths in her works, often via hand embroidery and digital sewing. Her latest exhibition, “Now If I Had Been Writing This Story,” which takes its title from a poem by Stevie Smith, features ten works from the past eleven years and is on view at the Secession in Vienna from April 13 to June 3, 2018.

FOR THIS SHOW, I wanted to spotlight part of a long ongoing body of work. It consists of two series: “Ariadne’s Thread” and “Minoan Girls.” They’re

The Irish artist Alice Maher’s work is, by turns, a powerful call to action and a persuasive invitation for reflection. Her solo exhibition “Vox Materia” at Source Arts Centre in Tipperary, Ireland, which she discusses below, is on view through May 5, 2018. Here, she also talks about her work in the next EVA International, which will run from April 14 through July 8, 2018. Additionally, Maher’s new film, The Sixth Skin (2018), made in collaboration with artist Aideen Barry, will premiere at the Cork Film Festival this fall.

YOU MIGHT THINK WOMEN come out pretty negatively in myths and history,

Wang Yin is a Beijing-based artist whose works carefully trace the aesthetic experience that informed the modernization of painting in China. Here, he discusses his latest exhibition, “Friendship,” at Vitamin Creative Space’s Mirrored Gardens in Guangzhou, China, which features fourteen new works illuminated only by natural light. The show is on view until April 15, 2018.

I DECIDED TO TITLE THIS SHOW “FRIENDSHIP” because I think we need to establish a more friendly relationship with the past and with the Other. Oil painting has always been an incomplete issue in East Asia. And I am willing to

Reina Gossett and Sasha Wortzel’s short film Happy Birthday, Marsha! (2018) is a moving celebration and evocation of trans activist and artist Marsha “Pay It No Mind” Johnson, set on the eve of the Stonewall riots in 1969. Gossett and Wortzel bring archival intimacies and a deep sense of care to the project of representing Johnson’s life and legacy, resulting in a remarkable fifteen-minute film that ranges in feeling from soaring uplift to deep loss. Created through extensive community collaboration, the film features lush cinematography by Arthur Jafa, an expressive score by Geo Wyeth, and star

Hương Ngô and Hồng-Ân Trương’s work The Opposite of Looking is Not Invisibility. The Opposite of Yellow is Not Gold, 2016, pairs vernacular photographs of the artists’ mothers with texts from 1970s-era US congressional hearings regarding Vietnamese refugees. It is featured in “Being: New Photography 2018,” which will be on view at the Museum of Modern Art in New York from March 18 to August 19, 2018. Here, the artists discuss the political and personal impetuses behind their approach and how race, gender, and labor are often made invisible in cultural narratives.

VERNACULAR PHOTOGRAPHY speaks to

Polymath artist Catherine Christer Hennix is known for her groundbreaking compositions, including The Electric Harpsichord, 1976, and Central Palace Music, 1976. A retrospective of Hennix’s visual work at the Stedelijk Museum Amsterdam, curated by the museum’s curator Karen Archey and Blank Forms artistic director Lawrence Kumpf, is also currently on view through May 27, 2018. Here, Hennix discusses the exhibition and a recent performance (on February 16 and 17, 2018) that melded her mathematical interests with traditional practices of sustained pitches in just intonation.

FOR THE PERFORMANCE of

Titled after a 1913 Robert Walser short story in which a caregiver looks for her lost charge, Carissa Rodriguez’s The Maid, 2018, is a lusciously produced video and forms the centerpiece of the artist’s first solo museum exhibition in New York. The work follows six iterations of Sherrie Levine’s 1993–94 sculpture Newborn, as found in their current homes. Here, Rodriguez discusses making the piece, which is on view at SculptureCenter until April 2, 2018.

OVER THE YEARS, I kept returning to Sherrie Levine’s Newborn works. They first appeared in an exhibition in 1993 at the Philadelphia Museum of

IN A 2005 INTERVIEW, British-Nigerian artist Yinka Shonibare MBE reflected on the questions around the fluid nature of identity—racial, national, cultural—that dominate his practice. “What I do is create a kind of mongrel,” he said. “In reality most people’s cultures have evolved out of this mongrelization, but people don’t acknowledge that.” The word may initially seem an inapt one for Shonibare’s sumptuous, baroquely elegant sculptures, videos, and installations, but it does conjure the fraught conditions of postcolonial identity, increasingly defined by discourses of globalization,