The third edition of Art Mumbai foregrounds care and slow looking.

Repeatedly failing to align with light at Camera Austria offered a site where light and its opposite unfold together.

On Kawara’s telegrams stage the banal fact of existence as a formal event.

Anna de Castro Barbosa’s sculptures render intimacy porous and estranged, resisting transparency while bearing desire’s traces.

Esther Gatón creates a porous space where matter, memory, and meaning gently collide.

Brandi Twilley’s flowers meditate on life and death at Sargent’s Daughters.

Matić transforms the photographic shadow into evidence of self.

Alongside a biennial, a book fair, and cultural festivities, CXW 2025 kicks off a new season of cultural productions.

Internet Archaeology dives deep into the whimsy and the contemplation of our shared digital youth.

A Room Just So at Bergdorf Goodman spotlights six artists engaging with brands, material, and textiles.

Wael Haffar Habbal’s exhibition at GHOSTMACHINE trace journeys across a fractured landscape.

In Julia Masli’s Ha Ha Ha Ha Ha Ha Ha, laughter is the foundation of building community and collective problem-solving.

The spirit of Turiya Adkins’s multimedia work is perfectly captured by the word “ferocity.”

Join IMPULSE journalists at artist studios this month.

Gabori’s practice renders maps of her homeland from memory.

Highlight exhibitions in New York City.

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

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

Condo explores the intersection of artistic freedom and political constraint, speaking to a zeitgeist of tension and uncertainty. 

LOVE POSITIVE WOMEN challenges stereotypes about HIV and AIDS through handwritten Valentine’s Day cards.