Danspace Project’s shared evening of works by Malcolm-x Betts and Dominica Greene outpaces the limits of the clock.

Samuel Guy’s self-portraits of American masculine mythologies destabilize the genre of self-portraiture at Auxier Kline.

Charisse Pearlina Weston’s sculptures present the evolving conditions of racialized opacity through repeated folds, tenuous rupture, and balancing acts.

Prinetti proposes the interstice as a stage for reanimating the cultural capital of the contemporary museum.

Nechvatal addresses computation and information in a historical solo exhibition at Magenta Plains.

Girmay and Mooses consider how the materiality of poetry and visual art speak to one another.

In Yi Hsuan Lai’s exhibition at SoMad, the many dimensions of the self are laid bare sculptural photographs.

Paul Bartel’s largely forgotten comedy Scenes from the Class Struggle in Beverly Hills (1989) found new purpose in the one-liner as a tool to satirize class dynamics. 

The Mexico-based art magazine Artes Visuales materializes into an exhibition at Hunter College’s Leubsdorf Gallery. 

Where There’s Fire becomes a portal into family history through generative technology.

A century after its founding, Walter Gropius’s Bauhaus Dessau building upholds its status as a site of artistic experimentation and innovation.

Dahlia Bloomstone roleplays moral equivalency through content moderation.

Through immersive installation, Barcelona’s MIRA Festival asks what is real and how shared belief makes the work possible.

Studio visits with Claire Hentschker, Maya Man, Minku Kim, Frank WANG Yefeng, Christopher Gambino, Olof Marsja, Erica Baum, and Tonye Ekine.

When must the movement match the mission?

Compelling commissions from Ayoung Kim, Pakui Hardware, Tau Lewis, Regina José Galindo, Robertas Narkus, and Lina Lapelytė.

Gates transforms material and archive in two solo exhibitions across the city.

Echo Delay Reverb at Palais de Tokyo explores Transatlantic dialogues between artists and scholars in pursuit of subversive queer and feminist politics.

At 15 Orient, Jay Payton reimagines the legacy of abstraction through destruction, renewal, and historical reckoning.

Reverend Joyce McDonald conveys an unmatched level of delicate sincerity in her biographic sculptures.