As a triplet of multilayered meaning: material, memory, and myth cast a near-cosmic net.

New Zealand artist Hannah Jensen Fox is renowned for her distinctive technique of carving delicate, nature-inspired designs into acrylic paint, transforming each work into a richly textured celebration of nature.

The Laguna Plein Air Painters Association (LPAPA) is known for its prestigious Laguna Beach Plein Air Painting Invitational, now in its 27th year.

How far would you go to confront your deepest desires? Taiwanese artist Skyler Chen doesn’t shy away from these intimate and often taboo questions in his exhibition How far I would have to go to become myself at MASSIMODECARLO, London.

A Walk on Cape Cod is a beautifully crafted and deeply considered book published and bound by NECK Press.

Having acquired an unsigned drawing by Cy Twombly (1928–2011) a few years earlier, Cologne-based physician Reiner Speck traveled to the artist’s home in Rome to get him to autograph it.

What a joy it is to find yourself in a pastiche of white on white—replete with the sweet musty smell of freshly cut drywall, old-timey CRT monitors, and a clattering symphony of long-ago bodies wresting tedious, long-ago sounds.

At the beginning of this focused retrospective, Wayne Thiebaud’s portrait of his wife Betty Jean from 1965–69 depicts her seated, a book before her open to reproductions of drawings by Seurat and Manet.

Mo Costello’s Untitled (Cleveland Ave.), 2025, presents a close-up view of a telephone pole, its ragged wooden surface almost entirely obscured by a battalion of rusted staples.

Although his practice encompassed works across many media, Vietnamese American artist Dinh Q. Lê (1968–2024) was best known for his elaborate photo-weavings: strips of photographic paper interlaced to form tapestries of often incongruous imagery.

For Alberto Aguilar, objects are artifacts of lived experience: things whose importance and meaning are derived from their social contexts and how we interact with them.

After guessing which direction to take inside a building housing numerous exhibition spaces.

Of all the artists of New York’s East Village in the 1980s—that almost folkloric bunch once dubbed the New Irascibles—none seem to have had the effervescence of Arch Connelly (1950–1993).

In 1961, when asked to write on the survival of Indigenous iconographies in the colonial period, historian George Kubler, then an authority on the art of the ancient Americas, declared that such a “search” was akin to a “prolonged dissection of the corpse of a civilization.”

In The Performance (all works 2025), one of three large-scale sculptures in Lionel Maunz’s “Obedience,” his seventh solo exhibition here, a stagelike platform displayed a humanoid male made from polymer-modified gypsum, fiberglass, urethane resin and epoxy clay.