ROBERT RAUSCHENBERG'S multifarious art was driven by a restless, self-critical inventiveness that he sustained across an uncommonly long and productive career. This full retrospective at Tate Modern, curated by Achim Borchardt-Hume and Leah Dickerman and covering all six decades of the artist’s practice, came nine years after the artist’s death and nearly forty years since his last major show in the UK, a surprisingly extended absence for such a canonical figure. The exhibition therefore stood as both a rare opportunity to see the full range of Rauschenberg’s work for the first time in this

If reading the news these days just makes you want to get away from it all, then Fred Tomaselli’s hallucinatory alterations to front pages of the New York Times promise to offer at least a temporary fix. Painted and collaged directly onto the page or an enlarged, digitally generated facsimile of it, his manipulated illustrations transport you from the Gray Lady’s sober reporting to a more enhanced, dreamlike, and, in many instances, more enchanting place where typical journalism has been radically reenvisioned: Villains are ridiculed (e.g., Donald Trump and Mitt Romney ensnared together in one

A Salesman, 1979/2017, the central work that took up the entire back wall of the gallery in Hal Fischer’s exhibition “Gay Semiotics,” was originally installed as a billboard at the gateway to San Francisco’s Castro district, famously the center of gay pride activism in the 1960s and 1970s. Commissioned as part of a billboard exhibition organized by the Eyes and Ears Foundation and funded by the National Endowment for the Arts, it shows a naked man on a bed sporting a moustache. He is lying on one side, in white sheets, in a pose that recalls such iconic female nudes as Manet’s Olympia, 1863.