Review
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...
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...
Vadis Turner Encounters
The night before I flew to Alabama, I went to opening night of Medea at the Metropolitan Opera. Typical characters—rich,...
Charmaine Minniefield:
Indigo Prayers: A Creation Story
Inside the John Howett Works on Paper Gallery at Emory University’s Michael C. Carlos Museum, Indigo Prayers: A Creation Story...
What’s Love Got to Do with It? What Is Left Unspoken, Love
In its presentation of almost 70 works by more than 35 contemporary artists based in North America, Europe, and Asia—including...
partus/chorus
partus/chorus is US-based artist Ja’Tovia Gary’s curatorial debut. It is an exhibition about the Black womb from a perspective anchored...
Because the Sky Will Be Filled With Sulfur—Jeremy Bolen
It is with grace that Jeremy Bolen’s exhibition Because the Sky Will Be Filled With Sulfur tackles the immense amount...