circulation
Clouds, Power, and Ornament: Roving Central Asia
Clouds, Power, and Ornament: Roving Central Asia is organized in two parts, starting with Clouds and Power, curated by Slavs...
Cameron Downey: Lord Split Me Open
Lord Split Me Open is Cameron Downey’s first major solo exhibition. The show comes on the heels of other recent...
Behavior Conditioner: The Narrative Imagination of Ian Cheng
The inscrutability of the universe is quite enough for us to think about. —Fernando Pessoa, The Book of Disquiet After...
The 16th Lyon Biennale: manifesto of fragility
Moments like these, where the show drilled down on its complex resistance to heteronormativity (and thus paternalism), heightened the breakdown at Usines Fagor, with its abundance of large-scale installations that, while meaningful—as with Dana Awartani’s Standing by the Ruins of Aleppo (2021), a clay brick reproduction of the courtyard floor in Aleppo’s Grand Mosque—hinted at a curatorial anxiety to fill the site’s cavernous spaces.
Not The Only One (N’TOO)
Not The Only One (N’TOO) is the multigenerational memoir of a Black American family told from the perspective of an...
Stephanie Dinkins: Building Something Now
In a recent conversation, a colleague made the claim that the math supporting the technology under discussion was not cultural....
stones make birds make stones
Kite, INYAN/ZINTKALA/INYAN KAGAPI (STONES MAKE BIRDS MAKE STONES), 2021 Created in response to Martha Tuttle’s installation, A stone that thinks...
Heritage Algorithms and Other Letters to the Future
Over twenty years ago, the exhibition The Quilts of Gee’s Bend opened at the Whitney Museum of American Art. The...
Make Me Feel Mighty Real: Drag/Tech and the Queer Avatar
Tay was born a teenage girl chatbot on March 23, 2016. Her parents, a crew of Microsoft employees, designed her as...
The Eyes Were Always on Us
The Eyes Were Always on Us opened March 23 at the United Talent Agency’s new Atlanta gallery on Peachtree Street—a...