Reviews
Series Collapsed by MPA
Infinity had to start somewhere. ∞, also known as the lemniscate, the ouroboros, or the “lazy eight”—often a line with...
Erasing Pronouns: Beatriz Santiago Muñoz’s Ottilia
The women say that of her song nothing is to be heard but a continuous O. That is why this...
Eamon Ore-Giron: Competing with Lightning / Rivalizando con el relámpago
Halves are made whole in Eamon Ore-Giron’s syncretic paintings, which combine elements from the Americas and Europe at different points...
Judie Bamber
For the uninitiated, approaching Judie Bamber’s work in the Richard Telles Gallery this summer might innocently begin as a contemplation...
Art and the Thinking Machine: Coded: Art Enters the Computer Age, 1952-1982
One of the first appearances of digital computers before a mass US audience (and a global one) in the early...
Insisting on Resisting : Counterpublic 2023
St. Louis, home of the Gateway Arch at the confluence of the Missouri and Mississippi rivers. Emblem of Manifest Destiny....
Amalia Amaki/Liz Hampton
When the Feminist Women’s Health Center expanded, a library of books and video tapes on women’s health issues was made...
Of Oysters, Roaches, and New Pessimism in Hong Kong
It’s all very Videodrome. That body horror manifests in phone-breath-bed 3 (2023), a sculpture presented in its own small room. A silicone face emerges out of a Perspex panel, where, lower down, a silicone slab forms a womblike concave depression. The panel hovers over the form of a hospital bed with the support of gray plastic piping, whose mattress is a screen-skin painting with creased dermal folds framing silicone protrusions that swell from the flatness.
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...