Intersections, Claudia Joskowicz’s two-channel video installation and accompanying photographic series at LMAKprojects, is a straightforward display of her newest video piece, Every Building on Avenida Alfonso Ugarte – After Ruscha. The insular gallery space of LMAKprojects has been transformed into a kind of dark pathway. The spectator enters and is sandwiched between two opposing, life-size projections of two sides of the same street: Avenida Alfonso[…..]

A distressed pair of white porcelain shoes with red soles and a cast golden index finger seductively beckon you upon first entering Elizabeth Zvonar’s exhibition Banal Baroque at Daniel Faria Gallery in Toronto. The heels of the shoes are warped, the feet inside almost brainy in texture. Sawed off abruptly at the base of the ankle, the feet, shoes, and the vibrant red soles are[…..]

When you enter your local supermarket, the door will most likely slide open automatically, welcoming you as it senses your presence. There’s nothing remarkable about that, you’re accustomed to the simple technology of motion sensors. What is remarkable is that technological fixtures such as motion sensors have become so ubiquitous that we scarcely notice them anymore. They are a part of your daily routine, a[…..]

Last year, Theaster Gates and a team of collaborators took over a run-down building in Kassel, Germany called Huguenot House, renovating the space for performances and creative interventions as part of 12 Ballads for Huguenot House, the artist’s contribution to dOCUMENTA (13). It was a fitting gesture considering the restorative origins of the first dOCUMENTA in 1955, which reintroduced modern art to Germany after years[…..]

Mixed media—that creative collision of materials rarefied and commonplace, refined and raw—is, one might say, something of a given in the contemporary art world. The Hirshhorn’s Over, Under, Next: Experiments in Mixed Media, 1913-Present is a fascinating and provocative overview of this now-ubiquitous, once-incendiary mode of art making. Such an illuminating look back prompts one to see the present anew, and considered in the light[…..]

Caitlin Cunningham’s current solo exhibition is on view at sophiajacob in Baltimore, Maryland, through May 25th. The show, informally titled Tan Penis Island, extends from a focused critique of the legacy of modernist painter Paul Gauguin’s exploitation of Tahiti to examine the ramifications of fantastic projection, the economy of colonization, and the production of white masculinity through the exotic Other. Cunningham integrates live plants and[…..]

At 11 p.m. on a Friday night in Paris, I took advantage of the late hours at the Palais de Tokyo. Before entering the Julio Le Parc exhibit, I overheard a conversation that seems to exemplify a standing problem of contemporary art. A visitor answered his phone while looking at a conceptual piece and jokingly described it. It went something like this: “I’m looking at[…..]