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View of “Ellsworth Kelly at 100,” 2023–24. From left: La Combe II, 1951; Painting for a White Wall, 1952; Cut Up Drawing Rearranged by Chance, 1950. Photo: Ron Amstutz. © Ellsworth Kelly Foundation.

Ellsworth Kelly

By Sarah K. Rich

Print September 2023

Lili Reynaud-Dewar, My Epidemic (Teaching Bjarne Melgaard’s Class) (detail), 2015, HD video (color, silent, 6 minutes 59 seconds), thirty-one curtains, paint. Installation view, 2023. Photo: Aurélien Mole.

“Exposé•es”

Thomas (T.) Jean Lax on “Exposé•es”

Palais de Tokyo

By Thomas (T.) Jean Lax

Print Summer 2023

View of “Forecast Form: Art in the Caribbean Diaspora, 1990s–Today,” 2022–23. From left: David Medalla, Cloud Canyons, 1963–2014; Cosmo Whyte, Beyond the Boundary, 2022. Photo: Michael David Rose.

“Forecast Form: Art in the Caribbean Diaspora, 1990s–Today”

Museum of Contemporary Art Chicago (MCA Chicago)

By Daniel R. Quiles

Print March 2023

Jan Davidsz. de Heem, Fruits et riche vaisselle sur une table (Un dessert) (A Table of Desserts), 1640, oil on canvas, 58 5⁄8 × 78 7⁄8".

“Les Choses”

Molly Warnock on “Les Choses”

Musée du Louvre

By Molly Warnock

Print January 2023

Banu Cennetoğlu, right?, 2022, string, helium, Mylar balloons. Installation view. Photo: Sean Eaton.

58th Carnegie International

Zack Hatfield on the 58th Carnegie International

Carnegie Museum of Art

By Zack Hatfield

Print December 2022

Detail of ruangrupa’s Harvest Timeline, ruruHaus, Kassel, June 14, 2022. Photo: Frank Sperling.

Abhijan Toto and Pujita Guha for the Forest Curriculum on Documenta 15

By Abhijan Toto

Print September 2022

Gudskul banner, Fridericianum, Kassel, June 11, 2022. Photo: Nicolas Wefers.

Harry Burke on Documenta 15

Print September 2022

View of the Whitney Biennial 2022. From left: Mónica Arreola, works from the series “Valle San Pedro,” 2018–20; Danielle Dean, Long Low Line (Fordland), 2019. Photo: Ron Amstutz.

Whitney Biennial 2022

Jace Clayton on the Whitney Biennial 2022

Whitney Museum of American Art

By Jace Clayton

Print Summer 2022

View of the Whitney Biennial 2022. Steve Cannon’s library and A Gathering of the Tribes archival material. Photo: Ron Amstutz.

Whitney Biennial 2022

Hilton Als on the Whitney Biennial 2022

Whitney Museum of American Art

Print Summer 2022

View of “rīvus,” 2022, the Cutaway at Barangaroo, Sydney. Center: Jessie French, The Myth of Nature – agaG1, 2021–22. Photo: Document Photography.

23rd Biennale of Sydney

Helen Hughes on the 23rd Biennale of Sydney

By Helen Hughes

Print Summer 2022

View of “City of Cinema: Paris 1850–1907,” 2022.

“City of Cinema: Paris 1850–1907”

Peter Lunenfeld on “City of Cinema: Paris 1850–1907”

Los Angeles County Museum of Art (LACMA)

By Peter Lunenfeld

View of “Decriminalised Futures,” 2022. Table: Copies of Danica Uskert and Annie Mok’s Unsustainable, 2020. Photo: Anne Tetzlaff.

“Decriminalised Futures”

Meg Weeks on “Decriminalised Futures”

ICA - Institute of Contemporary Arts, London

Print April 2022

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Doug Lawler/East Bay Media Collective

INTERVIEWS

Art history after Black studies

Spread from Ed Ruscha’s Twentysix Gasoline Stations (Cunningham Press, 1963). © Ed Ruscha.

Station to Station

Cover of The Anti-Aesthetic: Essays on Postmodern Culture, ed. Hal Foster (Bay Press, 1983).

THE ANTI-AESTHETIC AT FORTY

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