Our fleeting encounters with strangers—in magazines, on the streets—leave a mark decades later.

One of the best reasons to visit this year’s Whitney Biennial is Isaac Julien’s immersive multiscreen video installation.

Manet, though older by only two years, is positioned as the wiser, more formidable painter.

Displayed in Robert Smithson’s current exhibition at Marian Goodman Gallery is the artist’s unrealized Forking Island (1971), rendered in paint on a mirror. With its searching projections reaching outward from a central point, the island looks less like a landmass and more like a network, its form presenting a problem to the hypothetical cartographer. We […]

Visiting the Whitechapel Gallery after lockdown was the first time, to my knowledge, that I had my temperature read in public. I can tell you that I saw Radical Figures: Painting in the New Millennium on Sunday, July 26 at 4:30, because I had to book in advance and I still have the confirmation email. […]

In a time long ago, before photography, and certainly before the internet or widespread world travel, words were the primary conduit to experiencing an artwork from afar. Words aspired to, in the best of circumstances, convey the essence and the sensation of being in the presence of an artwork to readers who might never see […]