Since her emergence in the late 1970s, Sherrie Levine has utilized diverse mediums to challenge conventional assumptions around autonomy, originality, and agency.
In celebration of Iván Argote’s Dinosaur—the striking 17-foot-tall aluminum pigeon sculpture at the Spur on the High Line—the High Line presents Pigeon Fest.
This spring, the Jewish Museum presents the first US retrospective in nearly half a century dedicated to social realist artist and activist Ben Shahn (1898–1969).
German artists have often used typologies to help us understand the world. But an exhibition in Milan parades photography’s failures: to document, to mourn, to bend experience into arcs of narrative.
The work of Otobong Nkanga, the 2025 Nasher Prize laureate, reconsiders our relationship with the land and the materials extracted from it, engaging a dynamic and deeply considered range of materials within an equally diverse practice.
With Color, on view at 12.26 in Dallas, presents a cross-generational conversation in which artists use intuitive, exploratory processes — rooted in spectral decisions — to draw from abstraction’s narrow yet deeply subjective well.
The same that is said of Margaret Kilgallen, can be said of Barry McGee: there isn't enough written about the universe he has created, nurtured, reimagined throughout his 30+ year career.
For Aperture’s summer issue, “Liberated Threads,” guest editor Tanisha C. Ford explores fashion’s ability to create possibilities for solidarity and selfhood across the African diaspora.
According to Greek mythology, in the story of Orpheus and Eurydice, Orpheus was a talented and gifted musician known primarily for his soothing voice and seductive playing of the lyre gifted to him by Apollo.