Marcus Jahmal’s two exhibitions at Will Shott and Market Gallery find themselves suspended, transfigured, between the leather jacket and the cross.

The shapes in Patricia Treib’s canvases are painted with a vernal insistence.

The Cameroonian-Swiss curator was the first African woman selected to direct the Venice Biennale and leaves an 'immense void' in the art world.

In New Haven, where I’ve been looking at pictures for fifteen years or more, I found myself navigating the Yale Center for British Art (YCBA)’s exhibition, J. M. W. Turner: Romance and Reality backwards.

Madalena Santos Reinbolt is an artist who began making art in the early 1950s and continued making work until her death in 1976.

It was fitting for Jorge Pardo’s latest show at Elba Benítez to have opened the same week as ARCOmadrid, the city’s banner international art fair.

In 1982, Donald Fagen released “I.G.Y. (What a Beautiful World).

Remaining true to the original story, Genevieve Goffman has etched into the chest of her golem the magic letters that bring it to life and, when altered, deprive it of life: אמת (emet), which means “truth.”

Wolfgang Laib’s latest exhibition opens with the artist’s hand-written quote from Lao Tzu.

Zuzanna Czebatul is interested in the way monuments shape and perform power.

Multidisciplinary San Francisco artist Vanessa Woods uses photography in this show to examine the concept of motherhood, her own motherhood in particular, using images, or rather portions of images, of her children.

Last autumn, Suprainfinit Gallery launched a broader series of events titled “Becoming After Ruin”.

Fergus McCaffrey’s exhibition Co Westerik, Later Paintings: 2002–2016 consists of eight medium-sized works from the final two decades of Co Westerik’s artistic career.

I was never a huge fan of Tracey Emin’s work. I, like many others, viewed her as a radical whose identity as a Young British Artist (YBA) and celebrity seemed to precede and overshadow her artistic practice.

Eight early works of Robert Irwin’s, ranging from 1962 to 1971, installed straightforwardly and exquisitely in Pace’s Los Angeles gallery, is just about as good as it gets.