Introduction — Sarah Dowling Amy De’Ath’s Behind Our Backs: Feminized Poetry and Capitalist Abstraction attends to the whirring of social forms in motion, asking its readers to connect sense perceptio...

The title of Jana Euler’s new work, on view now through summer 2028 as Schultze Project #5 at Museum Ludwig in Cologne, recalls the discourse around 1960s minimalism and Michael Fried’s famous concern...

Gene Swenson: What happened to you in the 1960s?Paul Thek: I was beaten to death. Paul Thek’s legacy is undergoing a major revival, with recent exhibitions at Pace Gallery and Galerie Buchholz, a dual...

The first time I call the Dial-A-Poem Hong Kong hotline, I hear Leung Ping-Kwan’s “The Thunderbolt and the Cicada Song.” This initial experience of Dial-A-Poem is mediated by the limits of my Cantones...

Myka Tucker-Abramson’s sharp and compelling Cartographies of Empire: The Road Novel and American Hegemony takes the road novel as a “generic product of US hegemony” (3) and as a vehicle for mapping pr...

Whitney Biennial 2026Whitney Museum of American Art, New YorkMarch 8 – August 23, 2026 Curated by Marcela Guerrero and Drew Sawyer In Emilie Louise Gossiaux’s ballpoint-pen-and-crayon drawing Co-Shapi...

In December 2015, at the close of Acting Out: A Symposium of Indigenous Performance Art in Santa Fe, Anishinaabe artist Rebecca Belmore appeared as a projected face wearing a paper “Indian Brave” mask...

Coalition Literature offers a future for art that expresses and inspires effective protest, drawing on twentieth-century leftist power. Francisco Robles’s book is an illuminating literary history of m...

The tension between the global and the local has long been a productive site of debates within queer studies. Transnational queer scholarship in recent years has largely moved away from “including” As...

“Yves Saint Laurent and Photography”June 11, 2026 – Sep 28, 2026International Center of Photography (ICP) How best to present the dialogue between fashion on photography? Each medium depends on the ot...

At one point in Gangsterism, Isiah Medina’s 2025 experimental feature film, the protagonist, filmmaker Clem, confronts the comrade he suspects of unauthorized online leaks of his film. The respondent,...

The Prada Rong Zhai sits on North Shaanxi Road in Shanghai, behind a stretch of wall and a detail of guards. Built in the early twentieth century as a private mansion, with Corinthian columns, leaded-...

American artist Alison Knowles (1933–2025), one of the founding members of Fluxus—an international network of artists, composers, and poets most active in the 1960s and 1970s—long remained without the...

“The First Novel Written by AI is Here,” an article proclaimed in 2018. The author doubted AI tools could ever write a good novel but nevertheless conceded that one “might just see fragments of meanin...

Oil circulates crisis. Paying forty bucks at the gas pump bankrolls war crimes; occupations abroad top off gas tanks at home. Speculation made in crude oil stocks monetizes occupation, and plunder finances endless consumption. Infrastructure’s deadly…

1: The Giantess  When I first saw her in 2023, I had a job that paid me to tell stories about animals and an apartment in Berlin I rarely left. Most days I was squirreled under…

Approaching the university as a site of both critique and endeavor, Ben Spatz’s Race and the Forms of Knowledge: Technique, Identity, and Place in Artistic Research offers a series of refreshingly cha...

In Curating Worlds: Museum Practices in Contemporary Literature (2025), literary studies scholar Emma Bond forays into urgent debates concerning the future of public museums. On its face, a literary t...

Los Angeles is the kind of place that drives people—artists, writers, filmmakers—not just to understand it but to reckon with it, to publicly parse its ungraspable multiplicity. Such is the task hande...

Anthony Petro’s Provoking Religion: Sex, Art, and the Culture Wars brings forward a significant counternarrative of the role of religion in American art during the 1980s and 1990s. This period is freq...

I first noted its edges out of my peripheral vision five days before Christmas. Twoish days later, I took in some of its luminescent glow from across San Vicente Boulevard, the sounds of queer excess ...

Eric Schmaltz’s latest poetry collection I CONFESS (2026) documents the poet’s experience of undergoing a lie detector test. At once intrigued and unnerved by this extractive method of truth productio...

The break-up letter—in all its melodramatic glory— is not only a stinging force of creative inspiration (Hemingway’s A Farewell to Arms may have never been penned if not for World War II nurse Agnes v...

The mirrored closet doors are part of a collection of architectural salvage. Once obtained, they sit in an already stuffed-full house in upstate New York. During the COVID-19 pandemic their new owner,...

Displacement, Paul Liam observes in a review-essay, is a central aesthetic in the poetics of diasporic writers, either subconsciously or not, in such a way that the exiled writer is constantly questio...

Note: An English translation follows in the second half of this article. Frotando el pulgar contra un trozo de plata, Saúl Hernández Vargas me cuenta que en los 1960s, en una escuela primaria de Marfa...

Nick Vaughan and Jake Margolin make art that mines pre-Stonewall queer stories across the United States. Deeply researched both in the archives and through oral histories and community engagement—the ...

If the body is a container full of thoughts, feeling, and affective resonances, then what can we make of the ways that time demands our senses spill out of, and into, us? What does it mean…

The black box theater of Rice University’s Moody Center for the Arts might seem like a puzzling place for an introduction to Lovie Olivia’s art. But it was precisely right. The performative, the kinet...

Kristina Kay Robinson makes art that speaks and feels, that resounds and echoes, distilling centuries of meaning into singular cacophonous moments that speculate alternate histories and future revolut...

Lisa E. Harris introduced herself to the audience gathered for her artist presentation at ASAP/16 with a knowing caveat: “It’s a thing to have a bio.” Harris, an artist whose multimedia practice incor...

By relegating Native communities to a position of perpetual pastness, settler colonialism situates them at what Denise Ferreira da Silva posits as the “horizon of death,” forever receding rather than ...

Entering the scene of Makeda (Christopher Paul)’s Temporal Estrangement: A Path to No Place (2025), I am immediately plunged into its speculative and sensorial worlds. A braided copper wire basket is ...

It wasn’t until half the crowd had stopped talking that I noticed that a woman was dancing. The rest of the crowd hummed on, enjoying the opening party of ASAP/16. We were at the Midtown Arts…

This cluster of essays engages with the work of regional artists who presented in the Gulf Coast Artist Showcase that ran throughout the 16th annual meeting of the Association for the Study of the Art...

During my visit to Jana Sterbak’s retrospective on opening night, I did not immediately recognize the famed “meat dress,” Vanitas: Flesh Dress for an Albino Anorectic (1987). The flank steak from whic...