Nothing is left to the imagination until everything is: when information is obsolete, or when there is strategic overflow. by Julien Langevin
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
Jaime Gaiti reviews the exhibition Drawing Redefined, which reveals ongoing, intimate drawing processes that have been developed alongside more sculptural bodies of work.
Skye Priestley investigates ambiguity in form and process throughout Duncan Hewitt’s retrospective at the Portland Museum of Art.
In her solo show BETTER LUCK NEXT TIME, Julie K. Gray maps her failures in attempting to “to explore the unknown through paranormal and spiritual means.” by Benjamin Spalding
Toni Jo Coppa’s strange menagerie of unnatural history is at home in Hinckley’s LC Bates Museum. by Jacob Fall.