Review | Spectral photographs of Nevada’s Modernist architecture explore Paul R. Williams’s footing in the Silver State → September 30, 2023
Review | 35th Bienal de São Paulo, “Choreographies of the Impossible,” lodges kinetic critiques of colonialism and environmental degradation → September 13, 2023
Feature | Desert Mystic: Rita Deanin Abbey Art Museum honors artist’s poetic encapsulation of the desert phenomena → September 6, 2023
Interview | Miguel dos Santos: Materializing the Brazilian essence and the spirit of the materials → August 16, 2023
Feature | What is a regional museum? Unpacking the term’s pejorative undertones and these museum’s contributions to the national sector → May 7, 2023
Interview | Richard Mosse culminates years-long Amazon deforestation project with “Broken Spectre” in New York → October 5, 2022
Focus | Brazil Bicentennial: A survey of the past two centuries of Brazilian art and the forces influencing its future → September 5, 2022
Review | Hélio Oiticica’s unrealised Tropicália environment (1971) at Socrates Sculpture Park → August 7, 2022
Interview | Patrick Dougherty on his illusionary stickwork at the Tippet Rise Art Center in Montana → August 6, 2022
Interview | Conceptual artist Doris Salcedo on her Glenstone Museum commission, a reflection on violence in America → July 5, 2022
Review | Visualizing sounds with bioacoustic engineer Bernie Krause and the Fondation Cartier pour l’art contemporain → December 5, 2021
Review | Hunter Biden puts down the crack pipe and picks up the paintbrush for show at Georges Bergès in New York → November 5, 2021
Interview | Michelle Stuart on astronomy, feminism and the physicality of working in the landscape → September 7, 2021
Feature | On the preservation of Rio Grande archeological sites amid threat from floods and drug cartels → June 7, 2021
Feature | Generational continuum: Rejuvenating Sol LeWitt’s wall drawings at Mass Moca → March 5, 2021
Analysis | Destructive, sensationalized and maybe not even art: the short and vague legacy of the Utah Monolith → December 5, 2020