Art

NADA New York was as big as ever, with a headspinning expanse of paintings and drawings—and nearly not a screen in sight.

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Stand-out works burst through the otherwise risk-averse bubble at this year’s Frieze New York.

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In New York, Genevieve Goffman grants a present-day vision for the mythical, mute golem.

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Can you ever really divorce the art from the artist? The age-old debate might never be resolved, but gaze at any work long enough and you might start to imagine you are in the shoes of its creator, looking as they make their final stroke. Abstracted or thinly veiled, etched in words or hidden in pigment, traces of its architect are inescapable.

Photography was Dionne Lee’s first avenue to challenge how the landscape is charted and conquered. Now with her new sculptural installation at Storm King, she steps into land art.

Power dynamics come into play across continents and centuries in Dominique Fung’s first solo show in Hong Kong, centered on the story of Empress Dowager Cixi.

EXPO finds new polish under Frieze’s wing, but its Midwestern spirit and hunger for connection still hold. Across booths, artists ask: Who gets to be seen?

In a world where choice is seen as a right, an onslaught of surface level options gives a sense of false freedom. Andrew J. Greene wants to know at what cost? 

Political turmoil and cultural heritage converge in Nina Kintsurashvili’s debut New York exhibition, in which the Georgian artist presents deeply referential paintings.

At Dallas Art Week, the works that rose above the surface addressed the current moment, provoking more questions than answers.

Harold Mendez gets site specific as Bella Union’s inaugural artist in residence. At the Napa Valley winery, a survey of his works made at past residencies is a sum of its parts.

Since porcelain was introduced to the west in the 16th century, its craft has carried both the stories of and the prejudices toward Chinese culture. Today, a new generation of Asian women artists reckon with the medium’s past and reclaim its story at the Met.

What do Amish women, Civil War reenactors, and alienated young women have in common? Georgia Gardner Gray’s new paintings connect the dots.

Digital space is as consequential as you make it. The interplay between human and electronic thought is a point of intrigue for American Artist—all the better for its fantastical possibilities.

TEFAF Maastricht takes visitors on a journey between periods of human urge to create.

Two new chapters in long-running series by Mungo Thomson consider the infinite nature of collective human experience—and the impossibility of getting it all down on paper.

Joan Jonas has spent a lifetime weaving between mediums, spaces, and moments. Her new New York exhibition “Empty Rooms” reminds us that nothing ever truly disappears. 

Ben Werther’s new paintings in “Townworld” use history as a jumping off point, collaging places from disparate references to question how nostalgia is manufactured.

For nearly a decade, bells have been Davina Semo’s hallmark. Now, her latest trio finds permanent residence along Powder Mountain’s scenic Utah trails.

Desert X announces the artist lineup for its 2025 presentation, including site specific works by Sanford Biggers and Agnes Denes.

In Arizona, Hank Willis Thomas’ mid-career retrospective asks: If society picked love over rules, would we be in a better place?

Isabelle Albuquerque marks the fourth generation of women artists. She sees them in the contours of her own body and how they manifest in her work, she tells her mother, Lita Albuquerque. Across time and space, a collective feminine force reverberates.

America is a rocket launching into the sky and a hurricane sending waves crashing. At the Aspen Art Museum, Heji Shin’s photography captures these moments of rupture, where these two forces collide in a symbolic gesture.

As Black history month comes to a close, Magdalena O’Neal reflects on the symbols of soul that pulse across the work of artists like Betye Saar and Nina Chanel Abney.