Americans in Paris at the Grey Art Museum highlights the vibrancy and openness of the Paris scene for Americans.

For Dine, physical labor and art-making are interchangeable: “When you paint every day, all year long, then the subject is essentially the act of working.”

With the layers of his collaged "paste-ups," Jess pulls us into an oneiric world, at once delightful and perplexing, magical and sublime.

This month: Audrey Flack, Sonya Clark, Raven Chacon, Mike Olin, and more.

Aji’s bifurcated practice reflects his experience of living and working in two different worlds, India and the Netherlands.

Joanna Beall Westermann, Mel Kendrick, Japanese zenga paintings, absolute gems from the collections of Swizz Beatz and Alicia Keys, and more. 

In his paintings, Ding establishes an imaginary dialogue with architect I. M. Pei that reveals something about both the artist and his subject.

Paintings that appear ever-changing make us conscious of how we see.

Mary Tooley Parker takes a folk art form that emerged in the mid-19th century and transforms it into a way of recounting life in the 1960s.

Something about Phillip Allen’s visual preoccupations speaks to the viewer’s mind and eye, the connections and ruptures between physical and visual sensations.

This month: Huma Bhabha, Paul Cadmus, Kay WalkingStick, Beatrix Potter, and more.

In Eveleth's work, debauchery and decadence meet in the lowly doughnut, which we are invited to read as a limbless torso with a dripping orifice.

In the 19th century ledger drawings became a concentrated point of resistance for Indigenous people, an expression of individual and communal pride.

Bechara’s grid paintings are dazzling, engaging, and unsettling, since they undermine any sense of stability that we associate with a grid.

What surprised me about Korman’s new works was the degree of inventiveness I encountered in her off-kilter compositions.

While Joshi’s artwork addresses India’s current political and social state, these works are about more than just current events.

The deepest pleasure of Siena’s drawings was giving up the search for what generated them and getting lost in the intricacies of the composition.

Although the artist’s work had affinities with Pop Art, Minimalism, and Conceptual Art, it did not fit into these categories or any others.

David Diao uses Barnett Newman as a sounding board to explore his own fascination with the artist and the contradictory legacies of modernism.

The artist, who passed away this year, finally let go of his desire for control and perfection without surrendering his self-imposed restraints.

I can think of few other artists who, through the process of painting, are willing to place their work in jeopardy by denying the viewer a definition or resolution.

As beautifully controlled as his paintings are, they also present a ghastly vision of the world.

In painting, Gandy Brodie could find moments of beauty and defenselessness, as well as the endurance and will to survive, despite a difficult life.

By introducing his motifs into a children’s story, and avoiding any sense of self-importance, Scully reveals another side of himself.

Once Carlos Villa and Leo Valledor recognized that they could never fully assimilate into mainstream America, they set out on their own paths.

Mario Schifano moved nimbly among different modes and never settled into a style, which sets him apart from many of his contemporaries.

By choosing the unforgiving surface of toothed paper and making irrevocable marks, Nutt enters a territory few American artists have dared to go.

Asako Tabata presents a stark, unsettling vision of a society in which women have little chance to achieve autonomy.

While Wu Junyong is deeply connected to his love of Chinese myths, folktales, and language, his subjects underscore his break with the past.

He integrated the language of advertising and journalism into his poetry, and was influenced by the rapid tempo of jazz.

For more than three decades, Lydia Dona has generated enigmatic abstractions that join together legible and indecipherable parts.

In Purell Night & Day, Susan Chen focuses on the ubiquitous hand sanitizer, a reminder of the isolation we experienced during the lockdown.

The elusive connection between what we can and cannot express summarizes Donovan’s unique trajectory in contemporary art.

In her latest exhibition, what struck me immediately about Guérin’s work was that it neither looked like anyone else’s nor immediately disclosed its meaning. 

Appel’s vertical and horizontal formats suggest a narrative that can be read, but what is within their borders resists understanding.

Tom Burckhardt is a conceptual artist who has never defined himself as one because he knows the label is limiting.

Uchiyama’s question was how to capture the collision between nature and the manmade, the changing light and aging ruins she encountered in Sicily

For years, Amico has driven around Los Angeles early in the morning and taken photographs in industrial neighborhoods of walls and surfaces.

What is most satisfying about McNamee-Tweed’s work is that he has not lost his sense of wonderment.

Time passing has never been a subject Jim Dine has avoided; he has long made art about getting old.

What singles out artist Don Voisine is his ability to remain a restless painter, capable of surprising his most ardent fans.

Along with Lois Dodd and Sylvia Plimack Mangold, Jacquette successfully pushed back against Minimalism and Conceptual Art.

Mayhew has not been embraced by the art world because the trajectory he has pursued challenges the categories to which Black artists are consigned.

Sarah Palmer melds a formal device of trompe l’oeil with her content, which largely relates to the objectification of women and how women choose to present or stage themselves.

Through her attention to detail and light, Hannah Lee transforms a banal view into something uncanny.

The slippage between legibility and illegibility in Leah Ke Yi Zheng’s work pushes against the assumption that a painting must acknowledge its surface.

One of the underlying commonalities among the sites Liu has painted is the deleterious consequences of modernization on a traditional society or group.

Thompson wanted to author a world where the struggle between chaos and order, structure and impulse, the rational and irrational is never settled.

An unclassifiable artist and a deep reader, Jen Bervin has expanded the notion of what it is to be a poet in the 21st century.

In contrast to the speed and bravura of gestural abstraction, new.shiver slows time, and invites viewers to ponder how one might shape time passing.