Hornig’s new body of works presented in Lisbon strikes a timely chord in today’s political climate.

A.E. Chapman weaves together Black and Native histories, queer liberation, domestic labor, and gendered performance.

A show illuminates how the everyday work of care and guardianship, so intimately connected to Indigenous life, is itself a form of warriorhood.

Kai Oh’s recent works explore self-objectification and the fragmentation of narrative in contemporary visual culture.

On This Spot documentaries map women’s art history, from jazz lofts to The Kitchen. 

In Beijing Stories, the sculptural work of Chinese artist Liu Shiming is juxtaposed with Lois Conner’s photographs.

In Last Caress at Management, postmodern hyperrealism guides the viewer into an unsettling realization about the overproximity to reality.

Wilding’s symbology conflates natural and human worlds, suggesting our synchrony and shared fate.

Guadagnino’s 2024 film is a surreal presentation of eroticism, obsession, and loneliness.

One could say that Ana Jotta made a single letter in the alphabet her own, but also that she already lost her name to it.

British writer-artist Susan Finlay squares in on a precarious life in the art world in this wry anti-memoir.

Cooper Hewitt’s triennial exhibit, MAKING HOME, is a righteous reminder of the corruption, history, and love within its walls.

“The only way to be established is to establish yourself.” STAMINA at Project III takes doing-it-yourself to the next level.

At YveYANG Gallery, Huidi Xiang’s site-specific installation brings an animated film to life while centering on underrecognized labor.

"The art is never just the object; it’s always the living thread of creation, the tension between what’s felt and what’s seen.”

The Brooklyn Artists Exhibition navigates a sense of place, presenting the many Brooklyns personal to the artists.

“An object is not an object; it is a witness to a relationship.”

Iván Navarro’s solo exhibition at Miriam Gallery dissolves symbols and rhetoric into syllables and sounds.

The 1964 film sacrificed Eliza Doolittle’s agency in George Bernard Shaw’s play Pygmalion and resorted to romance as an easy solution.

At Susan Inglett Gallery, a group show curated by Cortney Connolly rethinks Pop Art.