A clear and joyful light floods the inner gallery of Ink Studio in Beijing, where He Yunchang performed a series of three grueling new works in his exhibition Water Forming Stone. Light dances through candy-colored drinking glasses that are suspended in midair over a pedestal of simulated crystals and jade. It radiates off of the warm white walls cleverly composed of cardboard shipping boxes and[…..]

Even if viewers know a little about the cultural and culinary history of Mexico, Gloria Carrasco’s exhibition at the Museo de Arte Popular in Mexico City might appear to be a show dedicated to the phallus. The gallery is filled with dozens of variations on the same object—a long, tapered shape made in a multitude of materials from textiles to ceramics and colors from earthy[…..]

We were delighted to see art-world activists the Guerrilla Girls on the Late Show with Stephen Colbert to promote their exhibition at the Walker, which opened last week (on view until December 31, 2016). To round out the historical context of second-wave feminism from which the Guerrilla Girls emerged, today we bring you Lia Wilson’s review of Women’s Work: Feminist Art From the Collection at[…..]

I visited the Museum of Fine Arts in Boston on the 68th day of Marilyn Arsem’s 100-day-long performance exhibition, 100 Ways to Consider Time. The premise behind Arsem’s exhibition (which exists, it seems, as one piece or work) is that the artist will be on-site, situated in a gallery inside the museum, for each of the 100 days of the show. As the museum is[…..]

Keith Haring’s creative impact was influential, and he broadly changed the model of what it means to be an artist. Today that model is not just coopted, it’s a memetic standard. But the curious thing about a successful meme is that when its impression becomes ubiquitous, the origin is often forgotten. Curators Bill Arning and Rick Herron grapple with this dilemma and attempt to bridge[…..]

In her solo show at MARSO, Empujo Puertas que Debería Jalar, Jalo Puertas que Debería Empujar [I Push Doors I Should Pull, I Pull Doors I Should Push], Mexican artist Daniela Libertad presents her latest works of sculptures, drawings, videos, objects, and photography. Libertad’s practice has been characterized by her explorations of space and material through relations, rituals, and repetitions. In her exhibition, every piece[…..]

Today, in honor of Dr. Martin Luther King Jr., we bring you Catherine Wagley’s review of the exhibition After 1968: Contemporary Artists and the Civil Rights Legacy. Following the author’s analysis of generational differences in attitudes towards protesting, it’s clear that although the featured artists came of age in a world devoid of Dr. King, the impact of his life’s work nonetheless resounded powerfully. This article[…..]