In mid-September of last year, as the light was streaking gold and the prairie air smelled of yellow, I had the pleasure of visiting Badlands ...

Last November I spotted an unusually mundane poster at Printed Matter, the nonprofit bookseller that once served as the ...

This episode features M. Neelika Jayawardane, a writer and scholar whose work is informed by Southern Africa’s history, and ...

It’s an understatement to say that Michael Asher was a site-specific artist. His work quietly—but insistently—demands attention to the contexts in which he made it: gallery architecture and ...

“I don’t ever want to live in one place again,” Paul Thek declares in a letter to Peter Hujar in 1968, “too many pretty places in the world.” Both Paul and Peter are deeply New York artists; that’s ...

What remains after writing—after the body that held the pen is gone? Carmen Neely’s remains (2026) hung alone on a white wall at Mariane Ibrahim Gallery in the Cuauhtémoc neighborhood of Mexico City.

1. Writing is a way of loving. To love is to give life, continuity. This is a story about lives that were not meant to go on. But they did go on. Soon after artist Gabrielle Goliath was informed that ...

Contemporary histories of Los Angeles seem to come in two main forms. The first, as exemplified by the indispensable work of the writer Mike Davis, deals with the existential problem of the city ...

Between 1973 and 1978, Lynn Hershman Leeson hired photographers to document the life of her alter ego, Roberta Breitmore. Dressed in a glossy blond wig, white blouse, and polka-dot skirt, Hershman ...

Many international biennales have come to replace the single artistic director with a curatorial collective, ostensibly to decentralize authority. Yet a change in structure alone does not guarantee ...

Daoist tradition teaches that at the time of death, souls journey to their next dimension by taking flight on cranes. Regarded as symbols of immortality in ancient Chinese lore, these mythic cranes ...

This is the first of two reflections Momus published on the occasion of Tehching Hsieh: Lifeworks 1978–1999, on view at Dia Beacon through 2027. Find the second, by Lisa Hsiao Chen, here. “I wanted to ...