“002 Fusion”: A Jest in Three Acts
On collaboration, caricature, and the marketability of Asian individuality.
A Clown Walks into the Crowd
In Julia Masli’s Ha Ha Ha Ha Ha Ha Ha, laughter is the foundation of building community and collective problem-solving.
Lipstick Traces: Taylor Mac's Satire Takes the Hand of Philanthropy in Its Teeth
Prosperous Fools turns a nonprofit ballet into a battlefield of ego, excess, and uneasy laughs.
BBBBBBBRYAN: Anti-Language, Anti-Painting
Bryan Castro’s solo exhibition at D. D. D. D. shares the frustrations of communicating through the digital digestion of word and form.
Gregory Kalliche’s “Anvil”: a Digital Gesamtkunstwerk
Anvil, before anything else, is a delicate portrait of perseverance at a time when being crushed feels inevitable.
Review: “Sehnsucht (Longing)” at YveYANG Gallery
Sehnsucht, at its core, is a complex mix of longing, yearning, and craving for something unattainable or ideal.
Jan Dickey: “The High Collapse”
A solo exhibition at 5-50 Gallery compresses time, accelerating natural cycles from decay to fertile ground.
Familiars Dance Among the Inverted
At All Street Gallery, Annu Yadav’s solo show, Gold God Meat, dazzles audiences with ritual, rupture, and reclamation.
Outside the Box
Files boxes labeled with lesbian innuendos begin our surreal and sensual trip through the queer archives.
Review: While Being Plasmic Membranes
In exploring metamorphosis as a bio-social constant, the artist blurs the line between body and objecthood.
Something Like
Each iteration of Jagudajev’s structural conceit is a redeal of a deck in which performers, participants, and the cards themselves keep changing hands.
A Thousand Kisses Deep: Joyce Wieland at MMFA
“Heart On” generates dialogue on care and identity as North America reckons with conversations on unity and division, accountability and erasure.
Review of Jacob Jackmauh: “Admissions”
Jackmauh’s solo show at Parent Company stages a poetic collapse of memory’s excess.
Tavares Strachan’s Energetic Interrogations
The artist’s solo exhibition, Starless Midnight, entices viewers out of successive comfort zones.
Review: Chronicles of the Absurd
A film about the Kafka-esque repression of Cuban bureaucracy showcases secretly recorded audio clips.
Object Lessons
The real world privileges experience over interpretation. To make an omelette—you know.
Placemaking through Painting: Mirdidingkingathi Juwarnda Sally Gabori at Karma
Gabori’s practice renders maps of her homeland from memory.
Le’Andra LeSeur and the Eternal Ephemerality of Suspension
“We can float,” LeSeur announces in Monument Eternal, “we don’t have to break, we don’t have to shatter.”