Donna Haraway shows us we need new ideas and new ways of thinking, new kinds of stories to think with, because the old ones are failing us. by Julie Poitras Santos
Nothing is left to the imagination until everything is: when information is obsolete, or when there is strategic overflow. by Julien Langevin
Creating public art — and public art conferences — requires deep, internal work as much as it does communication, planning, passion, and dedication. by Jenna Crowder
Lustfully saturated with lucid color and lively tricks of the eye, Elizabeth Kleene’s Tadow Island at Gallery 49 allows viewers to experience an external oasis. by Julien Langevin
Terry Winters and Mark Melnicove collaborate on a suite of prints exploring the relationships between image and word in the physics of space and time. by Megan Grumbling
Chris Stiegler explores process, objecthood, and relationships in three exhibitions at the Center for Maine Contemporary Art.
The intangibility of memory, the diversity of grief, and the anguish of remembrance are laid bare for the public in “Anguish: The Misgivings of Remembrance” at the ICA at MECA. by Veronica A. Perez
Lia Wilson reviews the site-specificity and flattening of time of S P E C T A C U L A R B L A C K D E A T H as part of the series A Long Wait.
The variances in Nicole Eisenman’s techniques, both nuanced and bold, portray her strong ability, knowledge, and integrity to the discipline of painting. Meg Hahn explains the intimacy between the viewer’s interaction with the work, and Eisenman’s authorship in what she divulges.
Jaime Gaiti reviews the exhibition Drawing Redefined, which reveals ongoing, intimate drawing processes that have been developed alongside more sculptural bodies of work.