Art-world people love lobbing this low-hanging critical fruit at the exhibition. This year especially, the moniker is ill-fitting and glib.

A look at the failed, racially charged takedown of dealer-activist Amar Singh.

Thirty years after its founding, the Pittsburgh institution still hasn’t defined a role for itself.

An exhibition at the Palazzo Ducale in Genova trades a celebration of the pioneering artist’s opus for a violent spectacle.

The city was once a hub for an ancient Greek ritual. Now, efforts to harness its fabled past risk merely aestheticizing its current environmental and economic hardship.

Thanks to selective governmental investment in the arts, a sad joke has emerged — state-funded "radicals."

Many members of the current generation do not recognize or even know about past efforts to create visibility for Asian-American artists.

Turkey’s narrative surrounding “the world’s oldest bread” raises questions about how archaeological heritage is used for nationalistic ends. 

He copyrighted the letter and ended it with “for your eyes only,” as if to say, don’t even think of showing this to anybody.

Naming the wrongs of the past is hard, especially when the wrongs have not yet been entirely righted, but it's crucial.

Luckily, it can be avoided by filling out a simple form.

In the West, the relationship with Byzantium has taken on the characteristics of other instances of colonial objectification.

The Cleveland Museum of Art took a gamble in 1986 that none of its peers in the museum field had been willing to take. Now payment has come due.

The decolonization of Palestine is not only a Palestinian project, but also a Jewish one.

The fate of innumerable sacred lives, buildings, and artifacts destroyed mainly by Ethiopian and invading Eritrean troops are still being willfully ignored by Western governments and international organizations.

It is because of my proximity to the memory of genocide in Nazi-occupied Poland that I am speaking out against the American-supported Israeli invasion of Gaza.

If solidarity with the Palestinian struggle is the limit of Germany’s self-proclaimed pluralism, then it is also the pressure point from which to dismantle this racist status quo.

I re-evaluated all of the choices I had made in my life, including the decision to become an artist.

Tribeca Film Festival’s decision not to award cash prizes to filmmakers this year led me to reflect on how institutions can genuinely embrace diversity.

Behind the endless demands to “condemn Hamas” is a strategy to silence and dehumanize Palestinians and their supporters.

How well gallerists manage ties with artists determines how successful we are in making an artist happy (assuming there’s such a thing as a happy artist).

Tate Britain did wisely to rehang the British poet and painter closer to modernity.

After the Supreme Court struck down loan forgiveness, the Biden administration came up with a robust plan B. Here’s how to prepare.

Though its creators won’t admit it, Here Lies Love is a tribute to the former First Lady of the Philippines Imelda Marcos, a human rights criminal and a relentless grifter.

Several arts organizations have stopped requiring reference letters. More should follow suit.

There’s only one way for the museum to survive the 21st century, and it starts with advancing toward restorative justice.

If you look very closely at Donald Trump’s mug shot, you can see the fear in his bloodshot eyes.

As we consider the rejection of Defne Ayas as the curator of the next Istanbul Biennial, it's time to examine how genocide denial has long been a staple of the art world in Turkey.

“You left us with an invitation to love and live harder, to be one with nature and the cosmos, and to commit to the struggle holistically,” writes Shirine Saad in a letter to the late Lebanese-American painter and poet.

The fighters stormed into our house, assaulting my father and callously plundering his belongings. They spared only the books, mercilessly tearing through the rest.

Should a struggling public library be used as a shrine to a billionaire’s glamorous life?

Decried by human and digital rights groups, the EARN IT Act threatens to undermine privacy and freedom of expression online.

The violence of enslaver logic still lives on within the walls of Dutch cultural institutions, and has not even begun to disappear.

The Supreme Court’s ban on affirmative action in college admissions is indicative of a larger problem that also plagues the art world.

The male-dominated art establishment has always used Pablo Picasso's "genius" to marginalize women. On the 50th anniversary of his death, this is the only show to challenge that.

A new publication tries hard to reinvent Kusama as a champion of racial equity despite her troubling record of anti-Black statements.

We want public art to interrogate social injustices, fill us with love and joy, and brush aside human flaws, but it rarely ever lives up to these expectations.

Katy Hessel’s new survey of women artists leaves out men, but also falls short of offering a new take on feminist art history.

P21 Gallery in London assembles an eclectic artist collective to commemorate and count the consequences of the Palestinian Catastrophe, 75 years later.

A long-lost Vajradhara sculpture that resurfaced in a Hong Kong collection highlights scholars’ responsibility to mediate between communities and the art market.

The pomp and pageantry of King Charles’s coronation follows the playbook of authoritarian theatrics.

We counted down the minutes until we hit the stretch of highway closest to the installation, but we didn’t stop.

From Twitter and Instagram to matchmaking apps, tech companies have helped modernize the caste system instead of dismantling it.

The Costume Institute is willfully ignoring Karl Lagerfeld’s bigoted views and his family’s concealed Nazi past.

The nonprofit industrial complex in the US has failed artists. Rocío Aranda-Alvarado and Lane Harwell of the Ford Foundation’s Creativity and Free Expression team suggest nine ways to change that.

From Ilya Repin to Charlie Kaufman, artists who explore the darkest human impulses can give us hope and inspire us to be better.

Patricia Marroquin Norby, the Met Museum’s curator of Native American Art, reflects on the lesser-discussed everyday challenges of repatriation work.

What is the excuse for charging people for something that was free for 1,900 years?

Armenia’s Trump-like business tycoon Gagik Tsarukyan is determined to surpass Rio de Janeiro’s Christ the Redeemer.

Dereck Stafford Mangus reflects on Guarding the Art, an exhibition curated by security guards at the Baltimore Museum of Art.