D’Lan Contemporary continues to demonstrate a sustainable model for representing First Nations modern and contemporary art internationally.

A conversation with founder Marc Thivierge and artist-curator Jay Darden about Escaping Time, a non-profit organization exhibiting art from US prisons.

Goldin+Senneby ponder fragile bodies on a fragile planet.

Angelo discusses how his recent exhibition at Sebastian Gladstone fits into his longstanding interest in diagrams, architecture, and his practice.

Thread Count at The Hole goes above and beyond, even its own framework.

The artists discuss process, ritual, and the long arc of working together across decades.

In the performances that comprise Tierra Mojada (Wet Land), Aguilera holds her own body tantalizingly out of reach.

Monika Baer’s Schweine Steine Scherben at Greene Naftali complicates the material, aesthetic, and political.

Ruby Sky Stiler’s solo exhibition at Alexander Gray Associates reconsiders art historical female archetypes.

Por abrasión o contagio collapses skin, landscape, and material process into unstable surfaces.

At the Museo Tamayo, Manuela Solano’s pop-culture portraits examine painting as a means of self-perception.

Standout exhibitions in New York City and beyond.

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.