Specters of Queerness in “Weapons” (2025)
Zach Creggers’s Weapons offers an enticing exploration of familial dynamics and monstrous femininity. Warning: spoilers ahead.
Ballroom Culture and Community in “Legendary Looks”
The largest retrospective of Ballroom culture to date contextualizes the lives of performers and their artistry from an inside perspective.
Carpal Bones: “De Anima”
In Louise Bonnet and Elizabeth King’s dual exhibition, a karmic regression of bodies is shown through figurative intricacies.
Where Cruelty Is a Waste of Pain
Berlinde De Bruyckere’s Khorós at Bozar casts a haunting spell of myth-made flesh.
Rethinking Landscape with “Alien Shores”
Alien Shores at White Cube Bermondsey considers landscape as a charged space where histories unfold.
No Silence Will Ever Protect You*
On Laia Estruch’s HELLO EVERYONE at the Museo Nacional Centro de Arte Reina Sofía.
Illuminating Queerness through Haze and Shadow
Two San Francisco shows render intimacy and identity more clearly by turning up the opacity.
Drifting without Handlebars
No Handlebars at Below Grand is an invitation to let go of our oppressive logics and drift.
Knots: Ruth Asawa at SFMOMA
Vibrating and vital, Asawa’s works divulge multifarious energies that draw parallels between the mechanical and the metabolic.
Computer Dreams: On Information and Images
At Microscope Gallery, a survey of computer and digital technologies in art spans point-and-click adventure games to holographic works.
Brand me Tender: “One in the Hand, Two in the Fold”
A group exhibition at OXH Gallery considers culture’s entwinement with a commodity economy.
Through the Flowers
At MIT List Visual Arts Center, Elif Saydam explores urban eros in miniature.
Unwasted Moments: Re-evaluating “Tangerine” (2015)
Ten years on, Tangerine’s layered approach to time continues to offer up the urgency, energy, and spirit with which protections for trans people should be fought.
Daniel Giordano’s Praxis of Excess
Opening a site-specific installation for Upstate Art Weekend, the Newburgh-based sculptor sees red in The Green Lodge’s leafy idyll.
The Anti-Image in the Age of Visual Noise
Victory Over the Sun articulates a visual grammar of resistance.
