Her face has gazed over midtown Manhattan traffic for over a century, but it wasn’t until 2023 that Hettie Anderson received official public recognition in words.

Dozens of artists and project spaces in the Brooklyn neighborhood opened their doors this weekend, inviting the public behind the scenes.

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

Artist Giulia Cenci's new installation in NYC has viewers questioning the impacts of arbitrary hierarchies imposed by the human race.

Hidden Faces: Covered Portraits of the Renaissance explores the paintings concealed behind mirrors, in folded diptychs, and on the backs of other works.

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.

Despite a lack of investment in the region’s cultural practices, artisans are looking for ways to make local craft economically sustainable for their communities.

This week, Eid in Gaza, Arizona’s draconian anti-abortion law, a TikTok critic’s honest review of the eclipse, trolling Eric Adams, postmodern Bob Ross, and more.

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.

“I arrive at the studio in the morning and play a perreo song by Karol G, Ivy Queen, or Tokischa; I dance; that is my meditation.”

The artist explained that the sculptures in Seed “transform the nature of a hectic and scary city, in a sense, to a place that’s really safe.”

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.

More than 100 venues across the state will take part in the inaugural Garden State Art Weekend.

Ubiquitous imagery of aggressive, hypermasculine deities across India is a chilling tool of the Hindu right.

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

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.

Blue jeans patents, suffragette cookbooks, noise-making 19th-century children’s books, and so much more.

It's said you can't rush a Dallas collector through a sale, and it's the Southern style to wait for a preview to end before closing.

This week, women of color in architecture, shady government comic books, a beloved cherry blossom tree’s last bloom, and much more.

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.

“At times I just sit and have a tea and go into my thoughts for a while; I don’t allow myself to do this at home or anywhere else.”

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.

A partnership between the museum and Mubi will make a selection of films in this year’s biennial available to watch online from the US, UK, and Canada starting April 12.

Revel Hall was a meditation on empty, dilapidated properties in a city plagued by a housing crisis.

How did the artist's massive “Clara-Clara” (1983) end up in the backyard of a former water treatment facility on the city’s outskirts?

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.

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

Artist Cassils led “Etched in Light,” a participatory visual art and sonic performance in Washington, DC this weekend.

Self-portraits by Van Gogh, Francis Bacon, and more explore not just how these artists saw the world but also what “selfie” culture says about us. 

The 16th-century “Isenheim Altarpiece” confronts us with the reality of suffering, violence, and death in a century where violence is both omnipresent and obscured.

This week, a Birkin bag lawsuit, Central Park’s sidewalks, political neutrality in history classrooms, the Broad’s costly expansion, and much more.

This month: Rollie McKenna, Michael Hambouz, Alina Tenser, Pearl Cowan, and much more.

Elizabeth Glaessner’s dreamlike worlds, Merrick Morton’s candid portraiture, Costa Rican artists on the body and identity, Sargent Claude Johnson, and more.

“My studio space doubles as a place of meditation, allowing me to enter a state of flow where ideas move freely and barriers dissolve.”

Dienst wrests playfulness and movement from the warp and weft of weaving.

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