Reviews
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...
Neo Muyanga: A Mass of Cyborgs
A Mass of Cyborgs, Neo Muyanga’s first solo, is a fitting inaugural exhibition for the Center for Art, Research and...
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.
Postnational Hybridity and Our Uncertain Future
Twenty years after Nigerian-born curator Okwui Enwezor introduced a non-Western curatorial model to documenta 11, we can witness the impact...
Singapore Biennale: Natasha
Naming a biennale after a random, anonymous person felt like a gamble, and from the mutterings I heard on 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...
Jamal Cyrus: The End of My Beginning
Jamal Cyrus’ The End of My Beginning is a survey exhibition that includes more than 40 works made over a...
It Shall Not Be Named – Carlos Motta: Your Monsters, Our Idols
The exhibition Your Monsters, Our Idols—with video, sculpture, photography, and installation works by Carlos Motta, and curated by Lucy Zimmerman—is...
Tamia Alston-Ward’s
Le Déracinement (The Uprooting)
American material and visual history are interconnected—the two cannot be separated. This fact is made apparent in Tamia Alston-Ward’s solo...