Is This What We Stand For?

Stephen Kroninger

Hélio Oiticica’s Place for People

The Brazilian artist’s manipulations of color and space became a way for him to challenge society’s inequalities.

Miguel Salazar

Alberto Giacometti and Alice Neel, Face to Face

The two artists have more in common than it might seem.

Barry Schwabsky

Speaking of the ‘Female Gaze’

In today’s confused, commercial, and not-quite-intellectual environment, the phrase “female gaze” functions in varied ways, according to its users’ needs.

Alina Cohen

Wandering Through Documenta

Do big, world-scale art exhibitions have any use today?

Barry Schwabsky

Robert Rauschenberg and the Art of the New Frontier

The artist was, above all, a restless and resourceful gatherer of materials—cultural as well as physical.

Barry Schwabsky

The Presence of Lynette Yiadom-Boakye’s Paintings

Though she routinely paints human figures, it’s better to understand her work as abstract art.

Ratik Asokan

The Ambiguous Sculptures of Melvin Edwards and Rachel Harrison

Time spent with their work serves as a reminder that most good artists don’t provide ironclad justifications for their choices

Barry Schwabsky

Percival Everett’s Abstract Art

His new novel, So Much Blue, is a meditation on seeing and abstraction, and it might be key for recognizing a new form of literary social critique.

Paul Devlin

Owning Time at the Venice Biennale

If only for an hour, the Zimbabwean artist Admire Kamudzengerere sought to exert control over an audience culled from the wealthy, sophisticated, international art-world elite.

Alina Cohen