Landscapes in Chaos: Nabil Mousa at the Arab American National Museum

Atlanta-based painter Nabil Mousa’s “American Landscape” series (2008­–12) trades in readily identifiable symbols: the American flag, the gendered iconography of restroom signs, and the Human Rights […]…Read more

When the Headset Comes Off: VR at Museums in 2017

The promise is that we’ll be subsumed into a Matrix-like dreamland, but in the context of an exhibition, at least, these virtual worlds can’t escape their awkward juxtaposition with the real one. …Read more

Striking Nerves: Art and Protest in 2017

The most powerful protests are not always the voices shouting the loudest. Often they are the most nuanced and multivalent, holding open the space we need to endure and push back on homogenizing forces that would limit the horizon of what it means to be human.…Read more

Sketches of Place and Loss: Graphic Novels in 2017

A variety of graphic work was published this year: narratives both long and short, imaginative fiction and political reportage, books with enough text to be considered long essays and others that were entirely visual. …Read more

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Like many San Francisco residents, I first encountered Veronica De Jesus’s epic series of memorial drawings while walking past Dog Eared Books in the Mission District in the late aughts. De Jesus worked at the store, and the drawings appeared in the windows and behind the register. Since 2004, she has made hundreds of them. While she exhibited a selection at San Francisco’s 2nd Floor Projects in 2013, the Berkeley Art Museum sho...

The works, rendered in pencil or ink and occasionally incorporating collage elements, share certain characteristics. All were made shortly after their respective subjects died and include their names, years of birth and death, and portraits. Many incorporate quotes from the departed, De Jesus’s own commentary on their lives, and brief descriptions of their work. During the years De Jesus exhibited the drawings in ...

Biennials usually balance works from and about disparate places with site-specific projects and gestures toward local culture, often by local artists. As a site for such a show, New Orleans poses a particular problem, laden as it is with tradition and myth. It’s called North America’s most African city, its most European city, its most Caribbean city. It’s the “Gateway to the Americas.” It’s Catholic and...

The hub of Prospect.4 is the Contemporary Arts Center, where the display opens with an impressive assortment of large-scale sculptures. Rina Banerjee, a Kolkata-born, New York–based artist, built a ghostly creature from beads, glass, and shimmering fabric. Winged, crimped textile constructions billow several feet behind the crouching figure, connected to it by gossamer threads. Lavar Munroe, a Bahamas-born ...

Douglas Huebler (1924–1997) is best known for his Conceptual, often photo-based work, such as Variable Piece #70 (In Process) Global—his impossible project, begun in 1971, to document all living people. Paula Cooper’s recent exhibition of his early sculptures conveyed the three-dimensional origins of his Conceptual practice, as well as that practice’s relationship to Minimalist concerns. In the sculpt...

Viewed from the side, the floor-bound Truro Series 1 (1966) appears to be a lavender-colored, S-shaped piece. As one walks around it, the work opens up, as it were, revealing itself to be a doubled form in which the two halves enclose a pale yellow interior. Finally, as one crosses to the other side, the sculpture shifts back to appearing as the recognizable letter, having returned from asignification to sign...

Chicago is a city that tells its architectural history obsessively. The Chicago Architecture Foundation’s acclaimed boat tours are arguably as important to the tourist trade as visits to Wrigley Field. The advent of the skyscraper (Louis Sullivan), the development of the Prairie Style (Frank Lloyd Wright), and the spread of the International Style across America (Mies van der Rohe) is such a well-known incantation...

“Make New History,” which encompasses models, plans, and other materials by some 140 firms, is curated by Los Angeles–based architects Sharon Johnston and Mark Lee of Johnston Marklee, who say in a statement that they are motivated by a desire “to examine the paradoxical resource and restriction that the horizon of historical materials presents us with.” They produce elegant and sophisticated work, and are...


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