Mariusz Warsinski's Nagababa chair challenges societal expectations of a woman’s body.

Liftin unpacks how his work manipulates object-image relationships and inhibits the viewer’s direct access to a world of optical illusions.

To mother is to be in alchemy with the universe to generate lifeforce. How then, could its volumes be contained with language?

Rintsch’s figures, which she boxes into tight-cropped frames, possess a feeling of existential confusion and youthful dread.

A public art project wants you to imagine the future of Rome through vaporwave aesthetics, a feminist fountain, and an existential safari, among others.

Falling asleep thinking about Tolia, I hear a phrase: “Every parting surface is another entrance unfulfilled.”

In Philadelphia, BlackStar celebrates its 13th edition, spotlighting Black and Brown filmmakers.

A lot of international students’ homes look like showrooms at Target and IKEA. It’s because we don't know for how long we will be here. A $20 lamp is good enough.

Tompkins reexamines imagery meant for male self-pleasure, juxtaposing them with insults and violent rhetoric against women.

Christina Barrera presents her politically engaged work in her first solo exhibition in NYC at MAMA Projects.

At Arsenal Contemporary, gaoyuan makes curatorial experimentations in the group show Theater of Energies.

“I listen to music through my eyes. I want my ballets to be music for the eyes.” – Bronislava Nijinska

There is not one United States, but many, which coexist, overlap, and contradict each other.

Julio Anta and Jacoby Salcedo talk about the conception of Frontera and an upcoming DC project.

The Azerbaijan-born, Berlin-based Genderfuck drag queen shares a journey of change, empowerment, and taking up space.

Hana Miletić’s weavings are beautiful and complex, but deserve context.

The O1 visa gives you an opportunity to look back and reflect every three years, making you ask, “What was my progress?”

Artists take inspiration from the imperial-era gobi to present thoughtful storytelling around collective histories and known rituals.

The only pictures on the wall are portraits of people unrelated to the family, and oil paintings of unknown provenance.

For Rho, the ocean is a temple — “Ebbs and Flows,” then, is a spiritual space that oozes with a quality of surrender.