Olga Balema's exhibition “brain damage” at Bridget Donahue consisted of long elastic bands crisscrossing the floor of the space, some painted and others left their original white.
In a series of paintings, Jessie Makinson took Margaret Cavendish’s 1666 novella The Blazing World as a point of departure, constructing her own otherworldly realm of genderfluid, interspecies hybrids.
“Labor’s Persistence,” at Marian Goodman, presented a selection of Allan Sekula’s work from the 1970s to the early 2000s that confronted material conditions of class struggle.
Brittany Nelson’s exhibition merged the biography of New Wave author Alice Sheldon (pen name, James Tiptree Jr.) and the lonely wanderings of the Mars Opportunity Rover.
Hammons is the rare artist with the clout to dictate to galleries the terms of his participation, the rumored details of which circulate internationally in gossipy whispers: The gallery has no say in what will be included.
This show posits an expansive definition of feminist practice—one that demands allyship with the most historically marginalized groups.
Trisha Donnelly’s inscrutability is legendary. She largely forgoes press releases and other sorts of exhibition didactics describing what the artwork is and how it is intended to be interpreted, and has limited the photo-documentation of her work.
Most of the ten paintings in Eleanor Aldrich’s exhibition, “Main Squeeze,” portrayed the suppleness of human flesh through close-up depictions of people’s backs pressed into woven or vinyl-cord lawn chairs, hammock nets, and chain-link fencing.
“A Tale of Today: Yinka Shonibare CBE” inaugurates the Driehaus Museum’s exhibition series spotlighting the work of contemporary artists of color, an exciting new direction for this Gilded Age mansion–turned–museum, whose programming has focused largely on art and design from the home’s original era.