Five artists reflect on ritual, freedom, and artistic practice during Mexico City Art Week 2026.

Tuan Andrew Nguyen’s upcoming project on the High Line plinth centers cultural retranslation, repair, and collective memory.

Simms discusses making work with found objects and integrating art historical references with folk cultures.

Suzie Maez believes that people don’t always notice the image they are standing inside.

Crap Shoot at Parent Company critically engages with the act and outcome of creation facilitated by statistical probability.

Sahar Khraibani’s new book contends with desire, grief, and language as sites of injury and release.

As access to reproductive healthcare unravels, Alexandria Masse crochets her birth control information sheet.

Cooper opens up about documenting children’s lives, immigrant communities, and emerging art culture on the Lower East Side.

Reluctant to call herself a collector, Rasmussen discusses her experience at NYC’s 2025 Affordable Art Fair.

Legrand unpacks thresholds of place and how painting distills meaning where language fractures.

Pam Lins and Roger White rethink material limits and political urgency under conditions of perpetual crisis.

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

Safina’s curatorial eye and market instinct grant her gallery another season of success.

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

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

Dahlia Bloomstone roleplays moral equivalency through content moderation.

The artist’s debut solo exhibition in NYC is imbued with historicity and a sense of the sacred. 

Madison Square Park Conservancy presents Larry Bell’s biggest public art exhibition to date.

A monumental installation considers deep time and human-nature connections.

Christopher Rincón discusses Michael Tracy’s devotion to form, place, and collaborative craft.