The Time is Always Now emphasizes the continuing importance of Black identity, visibility, and recognition in predominantly White society. 

In the Luigi Zuccheri’s pastoral scenes, a menagerie of oversized creatures, plants, fruits, and vegetables dwarf the humans with whom they share the canvas. 

Artist Cao Fei asks us to consider how long the benefits of new technologies may last, and what will remain after they’re gone.

In Ruppert’s work, vices surround, engulf, and even penetrate her human protagonists.

In Border Wisdom, Ahmad Almallah embraces the fissures that language cannot mend.

Shana Moulton’s female protagonist in Meta/Physical Therapy is charmingly overwhelmed by the small mundanities of contemporary life.

The artist unveils the frenzied, emotional underpinnings of consumption, transforming collective angst into her own creative product.

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

Lesly Pierre Paul's New Vision Art School turns to the arts as a way to continue local traditions and keep the neighborhood’s children out of gangs. 

A cacophony of life, death, and perfume ads, transmitted across the same frequency, VanDerBeek’s fax collages captures an “international picture language.”

Katherine Behar’s automated office machines simply pantomime labor, just like many bored office workers after they’ve fulfilled their daily email quota.

The artist’s solo show is a lyrical investigation into the ways that textiles shaped the country during the 13th and 14th centuries.

Artists of the silheom misul movement in the 1960s and ‘70s wrestled with an increasingly globalizing, industrializing, and politically censorious Korean art world.

Julio Torres’s directorial debut takes a fantastical approach to depicting the very real trials of immigration and creative work.

With Sonia Delaunay: Living Art, we get to glimpse pockets of the artist’s work across media, and feel her expansive and collaborative production.

The Harlem Renaissance was a globally networked movement of sprawling self-determination energized by the new modalities of Black subjectivity.

Asking the question of how beauty is sold or how beauty trends change would be more effective in The Cult of Beauty than aiming for both and answering neither.

A suite of paintings by Italian Baroque master Guercino at England’s Waddesdon Manor seems to herald the coming of Christ and a modern future.

A new show seeks to restore a pair of modernist weavers to a place of prominence in British design history.

While his paintings follow the rules of linear perspectives, Niles uses the materiality of the paint itself to pull viewers into the compositions.

Scratching at the Moon hones in on a loose network of artists that have known each other for decades in Los Angeles. 

The artist evokes a strong religious sensibility in his hybrid sculptures tempered by a welcome sense of humor.

After being afflicted with cataracts, the late critic and novelist reflected on the mechanics of sight.

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.”

Many responses to the Villa Baizeau in two exhibitions take up the notion of memory — and the idea of how life affects the built environment, and vice versa.

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

On the Adamant documents how art allows patients to translate confounding experiences into imagery — what one might call the poetry of the everyday.

If there’s a lesson from the Godzilla anthology, it’s that Asian-American art is deeply complex, much like the many manifestations of Godzilla the monster.

For some artists, erasure is a way to restore dignity.

Girls State follows a group of young women participating in the mock political program in Missouri just before the overturn of Roe v. Wade.

Aparicio treats unwanted things with extreme sensitivity, personally gathering and storing them over many years, renewing them with remarkable vision.

EXPORT’s urban interventions in her exhibition Embodied alert us to the risks of being read as femme in a highly visible, public space. 

The institutionalization of radical history in Women in Revolt! inevitably blunts the message, and streamlines the complex whole into a concise lineage.

The academic rigor of Entangled Pasts is counterbalanced by the poignant responses by contemporary artists and some astonishingly inspired curating.

The artist considers his own place in the complex history of landscape painting through canvases stretched imperfectly on wood from trees around his home.

Seen today, histories of radical feminist positionality and liberational struggle reverberate with stinging intensity.

Women in Revolt! is essential viewing for those keen to understand the evolution of British feminism from the 1970s to 1990s.

Although his work is legendary in ancient Greek sculpture, Phidias himself remains fugitive, a blank space whose outlines can be discerned in the copies of his works.

Khomenko forcefully responds to her war-torn Ukrainian homeland with complex compositions, lavish and varied brushwork, and avidity for color.

William Blake’s Universe feels a little hugger-mugger, as if part of its job is to offer up its secrets to like-minded enthusiasts. 

Vicente Blanco’s quietly complex drawings depict disorienting, spellbinding scenes in which things are rarely what they initially seem.

Rather than embrace individualistic “hustle culture,” the women in her paintings work communally and find time to rest.

With Storage of the Gods, the artist explores what a spiritual practice can look like in our secular, stressed-out world.

Nikesha Breeze’s A Mutiny of Morning reclaims African voices from the controversial novel.

Echoes of the Brother Countries explores the ongoing traces of Germany’s ties to socialist countries via artwork and film screenings.

Suneil Sanzgiri’s exhibition at the Brooklyn Museum joins lines of companionship across histories of colonial dispossession.

The Museum of the Moving Image’s annual experimental cinema event features several films that remix archival materials.

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.

While most Minimalists sought to eliminate expressive potential, McCracken’s sculptures do quite the opposite.