Suzie Maez believes that people don’t always notice the image they are standing inside.

Kasturi discusses complicated surfaces, materiality, and the convergence of her practice culminating in her recent solo exhibition at Indigo+Madder.

Leah Dixon’s solo exhibition at Underdonk questions architectural permanence in changing political contexts.

Crap Shoot at Parent Company critically engages with the act and outcome of creation facilitated by statistical probability.

Talisman explores the human desire for enchantment through the tangible and the mystical.

A survey of quilts by Carole Harris examines home and memory.

Sahar Khraibani’s new book contends with desire, grief, and language as sites of injury and release.

Hito Steyerl’s The Island and an interdimensional quest that traverses the AI universe. 

Lam’s 83% Perfect examines how systems of evaluation and “acceptable” dissent produce institutional compliance.

A solo show about collecting implicates notions of authorship, safeguarding, and compounded signification.

At MAMA Projects, Nicki Cherry’s petrified blooms go under the knife.

“We should all aspire to be better people. So change yer sheets. Now. And welcome to 2026.”

As access to reproductive healthcare unravels, Alexandria Masse crochets her birth control information sheet.

Standout exhibitions in New York City and beyond.

A duo exhibition featuring Lite Zhang and Pavlos Liaretidis traces how time settles matter.

Cooper opens up about documenting children’s lives, immigrant communities, and emerging art culture on the Lower East Side.

They Call Me Witch considers feminine agency and challenges the orthodoxy of knowledge systems.

The 14th edition of Mumbai Gallery Weekend is ambitious and exhilarating.

Fusco’s first institutional US survey spans three decades of socio-political critique.

Reluctant to call herself a collector, Rasmussen discusses her experience at NYC’s 2025 Affordable Art Fair.