Tilt your ear to a Jack Whitten painting and you might hear music. “You gotta be able to think like John Coltrane to ...

Elizabeth Wiet. Elizabeth Wiet is a writer and editor based in New York. She is currently deputy editor at Topical Cream and contributing editor at Bidoun. Her writing has appeare ...

When I used the term “Muslim body” in my curatorial note* for an exhibition in New Delhi last year, I did not anticipate the extent to which it would draw institutional ire. I had used it as an ...

A soft, warm light morphs into a shadow of a woman’s braided hair on the back of her neck. There is the sound of faint footsteps as she moves around her flat, shifting objects in the kitchen, the ...

For the past few weeks, I’ve been mulling over an image from a single-channel video by interdisciplinary artist María Magdalena Campos-Pons. In Baño Sagrado (Rite of Initiation, Sacred Bath) (1991), ...

The suburb of Westland, Michigan, where Mike Kelley grew up, may be one of the only cities in the US renamed after a mall.

Kelly Lycan is a photo-based installation artist who pulls apart our expectations of the photograph. Like a back door or a sprung leak, her work is both deceptive and expansive. It moves viewers ...

Ursula Biemann has been challenging, and excavating, how knowledge is produced for thirty years now, but in the past decade she has turned her attention to the environment. Her fieldwork has ...

Mehra’s work has this effect: one minute you believe you’re in on the joke, and the next minute you’re disassembled, caught up in the ways that the ghosts of colonialism and white supremacy continue ...

Hesse—and her legacy—is also the reason the editor David Richardson and I first met. For years Richardson and our friend Sal Randolph operated the publishing project dispersed holdings out of Hesse’s ...

Shelly’s personae are disturbingly elaborate and just as self-contradictory, confusing, and multilayered as the reality we live in, largely because they often come from real-life experiences. They ...

There is a photograph installed near the end of Peter Hujar: Rialto at New York’s Ukrainian Museum that still holds my attention. It is a photograph imbued with a sense of quietude that informs so ...