Exhibitions

The Metropolitan Museum of Art’s Lillian Bassman: Bazaar and Beyond examines how the photographer turned fashion’s artificiality into an art form. The exhibition traces her work from early modernist experiments to later reprints that sharpened her darkroom manipulations and personal vision.

Michael Asher’s conceptual practice continues to resonate more than a decade after his death, as Renée Reizman reviews a survey of the artist often credited as the father of Institutional Critique. Elsewhere, the day’s roundup spotlights Annie Sprinkle and Beth Stephens, the

Michael Asher’s exhibition at the Museum of Contemporary Art, Los Angeles highlights how the artist used museums themselves as both subject and medium. Through archives and ephemera, the show underscores his role in shaping “Institutional Critique” and his scrutiny of how cultural

A new exhibition at Columbia University’s Wallach Art Gallery traces the legacy of the Children’s Art Carnival in Harlem, founded by Betty Blayton-Taylor in 1969. Organized by Souleo, the show highlights how the program shaped generations of artists across Upper Manhattan and

The Morgan Library & Museum returns to Peter Hujar with Hujar:Contact, its second solo exhibition devoted to the photographer. Though the focus on contact sheets raises questions about archive mining, the show promises a fascinating look at Hujar’s creative process.

Vince Aletti, speaking at the Cooper Hewitt Museum of Design, reflects on the album covers, flyers, zines, and posters that defined the 1970s disco scene. The article considers how music and its imagery have become inseparable, even when they were never originally

Keltie Ferris discusses the contradictions at the center of his abstract paintings, from presence and absence to hard and soft, while reflecting on works that blend multiple techniques and materials. The artist also recalls his childhood in Louisville, his mother’s self-taught painting

The Aldrich Contemporary Art Museum is spotlighting 40 Connecticut-based artists in its first survey exhibition, The Aldrich Decennial: I am what is around me. Chief Curator Amy Smith-Stewart visited about 100 studios before selecting the final group, whose work reflects a volatile

The Institute for Contemporary Art (ICA) at Virginia Commonwealth University (VCU) is debuting Abigail DeVille’s Deo Vindice (Orion’s Cabinet) (2025) in the Southeast. The immersive installation, inspired by the burning of Richmond in 1865, is on view through August 18, 2026.

At Armory Art Center in Pasadena, Material Prophecies: Craft as Divination examines how materials associated with spiritual and ritual practice shape the meaning of art. The exhibition ranges from Jackie Amézquita’s mud and clay reliefs to vanessa german’s rose quartz bust, while