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Alt text: A large black-and-white billboard image by Hudinilson Jr. installed on the facade of Martins&Montero in São Paulo, showing a close-up figure with pink lips.
Across São Paulo’s galleries, artists turn to screens, Xeroxes, and neons, breathing life into Brazil’s modernist and queer histories.
Large nighttime arena with a UFC octagon set before the White House, framed by bright stage lights, giant fighter screens, and a packed crowd, with blurred faces throughout
If today’s art world appears trapped between oligarchy and institutional drift, the 1970s offer a revealing glimpse of another configuration
Framed image of three white cartoon-like figures before a confetti-filled Times Square scene, surrounded by a glowing border of round lights on a white pedestal
In his tender, darkly comic work, Kokopeli sends up millennials’ wretched attempts to make contact with the media culture of their youth
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“You don’t need opera, the grandeur of apparitions and murderous confessions, to access horror. Not in America, anyway”
“Sofia’s crime is not her betrayal of the documentarian’s fiduciary duty to biographical explication but the tasteful neutering of Marc’s histrionic import”
“Spaulding attempts to repair a critical vocabulary that has long known what to do with Duchampian skepticism, but is much less sure about Beuysian belief”
“Liden’s most poignant messages, concerning the ongoing ‘redactions’ of public speech in Germany, are indirect”
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Marc Kokopeli, Times Square Alliance Playset (detail), 2025, digital video (color, sound, 9 minutes 15 seconds), LCD cabinet, LED screen, resin, fabric, mixed media, 36 5⁄8 × 60 5⁄8 × 31 1⁄2″. Photo: Graysc.
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Alex Da Corte in Artforum's studio.
The artist reflects on two of his most important teachers, cites Rosalyn Drexler’s 1963 Marilyn Pursued by Death as an all-time favorite work, remembers Ingrid Schaffner’s exhibitions at the ICA Philadelphia and more
Massimiliano Gioni in front of works at the New Museum.
In this episode of Interpretations, New Museum Artistic Director Massimiliano Gioni takes us into the museum’s freshly reopened and expanded galleries
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