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Thumbtacks and Sword Swallowing in Miles Greenberg’s Studio

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Marisol: Proclaimed as the “First Girl Artist With Glamour” by Andy Warhol

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IT’S ALL A COMPLETE MYSTERY

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Queering the Crescent: in Conversation with Soufiane Ababri & Raúl Muñoz de la Vega

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Ethiopia Pavilion’s Artist Tesfaye Urgessa: “Prejudice and Belonging is About Every Foreigner Living in a Foreign Land”

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Hãhãwpuá Pavilion’s Artist Glicéria Tupinambá: “So Much of Our Heritage is Trapped on European Ground”

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Inside Yael Bartana’s Dream of a Post-Planetary, Boundless Utopia

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This Artist is Teaching Herself How to Use Her Left Hand

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Conserving Sacred Remnants with Theaster Gates

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Getting Vulnerable with Hugo McCloud

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Ai Weiwei and the Art of Nuance

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Isabella Ducrot, Abito rosa-rosso 2020 Indian textile and pigment on Japanese paper 266 x 198,5 cm Courtesy the artist and Galerie Gisela Capitain, Cologne

A Deep Dive Into the Whimsical Work of Isabella Ducrot

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Nairy Baghramian is Slouching Towards Abstraction

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Dreaming Up Hypothetical World’s in Olivia Erlanger’s Studio

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Xingzi Gu’s Echoes of Erotica

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The World Awaits CFGNY’s West Coast Arrival

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Do I Inspire You? Find Your Muse in June

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The Local’s Guide to Glasgow International

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Our Tears are Complicit: Cara Benedetto on White Women’s Victimhood

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Ali Banisadr x Huma Bhabha: “I wonder about how to put a fragmented world back together”

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The Ultimate London Gallery Weekend Itinerary

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Wynnie Mynerva’s Heavenly Bodies

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Gravity and GRACE: The Colourful World of Alvaro Barrington‘s Tate Commission

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John Akomfrah Teaches Us How to Hold Collective Memory

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Teresita Fernández Is Not Interested in Illustrating Her Identity

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How Artist-Led Communities in Lagos Are Boosting The City’s Art Ecosystem

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All Art is Ceramics Now (and That’s a Good Thing)

Culture At Large
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The Truth Is Out There: Chloe Wise Believes in Aliens and Other Phenomena

Reading Out Loud with Emily Burke
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Unsung Heroes: The Women of the New School of Paris

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What Peter Hujar’s ‘Portraits in Life and Death’ Taught Us About Grief

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How to Become a Dealer: Sid Motion

How to Become a Dealer
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On Being an Angel: Francesca Woodman and Julia Margaret Cameron at the National Portrait Gallery

On View
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A Dirty Mirror in the House of God: On Maurizio Cattelan’s Sunday and November

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They Can Leave if They Want: Ann Liv Young’s “Marie Antoinette”

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Berlinde De Bruyckere Returns to Venice After 11 Years With New Works

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Zeinab Saleh on Art, Success and Cacio e Pepe

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Alberta Whittle’s LA Photo Diary

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The Cosmic Reawakening of Ayé Aton

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How To Become A Dealer: Ellie Pennick

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In the Migrant Art Gallery: Legacies of Colonialism at the Venice Biennale

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How To Create a Joan Jonas Retrospective

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Who Is Piotr Drewko? The Gallerist Committed to Doing More

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The Bronx Documentary Center Walks the Walk of Community Engagement

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DAAR (Deconolonizing Architecture Art Research), Concrete Tent (2015), (Sharjah, 2023), photos by Edmund Sumner for Sharjah Architectural Triennial-1

Under the Concrete Tent: Reflections on Palestine During Sharjah Art Foundation’s March Meeting

Fresh Take
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Jeffrey Gibson: Ancestral Superbloom

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Fashion, Philosophy and Carnal Desire

Fashion and the Edge
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Bárbara Sánchez-Kane’s Impossible Fashion

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The Nigerian Renaissance in Venice

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Elephant’s Top 10 Archive Titles from Denim Tears Much Lauded African Diaspora Goods

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Anna Park, Just Imagine!, 2024, charcoal, ink, paint, foam, paper mounted on panel, 177.8 x 228.6 x 10.8 cm © Anna Park, Courtesy of the artist

Anna Park: Miss (Imagined) America

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Why Women are Laying Themselves Bare in Visual Autofiction

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Who is Stephanie Comilang? The Artist Exploring Labour and Transition in a Globalised World

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Venice for the Inexperienced: Jeffrey Deitch Explains the Venice Biennale

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Venice Recommendations for When You Need a Break From It All

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What to See at the 60th Venice Biennale – the Elephant Roundup

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Marie Watt on the Art of Storytelling and Collaboration

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Nari Ward’s New Monumental Retrospective Urges Us to Scratch Beneath the Surface

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Terence Nance is Deindustrialising Cinema

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How To Become A Dealer: Hannah Traore 

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Reclaiming the True Purpose of Zombies: Guardians Predating White Zombie Appropriation

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For Collective Ending’s Billy Fraser, It Is Time for the Art World to Talk About Privilege

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Clifford Prince King’s Photographs Will Catch You In Brooklyn

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How Absence Made Lisa Selby See Differently

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Maggi Hambling: 55 Years at Morley College 

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Hot Off the Press: Gallerist Tif Sigfrids Resurrects the Alt-Weekly

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Linder Sterling on Deep Fakes, the Buzzcocks and ‘Origin of Glamour’

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Will the Apocalypse be Televised? – Eric White and Barbara Kruger Explore ‘Cursed Media’

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Encountering Toni Morrison in the Middle East

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The Human Sensorium is Jónsi’s True Canvas

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Terry Allen Just Wants to Get Back Into His Studio

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How to Stage an Exhibition – A Conversation With Thea Djordjadze

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Fragmented Faces: The Many Layers of Cindy Sherman

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Essence Harden is Everything and Everywhere, All at Once

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Sylvie Fleury’s Hot Tub Time Machine

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Sirens, Shame, and Cycladic Dreaming: Sofia Mitsola Draws From Ancient Greek Mythology and Playboy Magazine

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Terence Koh and Yuri Yuan Talk Tangible Isolations and Allegorical Togethernesses

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Behind the Lens: André Uncut’s Exclusive Photo Diary from the Opening of ‘Giants’ at the Brooklyn Museum

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Artificial Intimacy: AI, Love and Sex

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The Art Farmers: Hauser & Wirth Somerset’s Fresh Crop

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How Rachel Rose and Paulina Olowska Took Me Back to the Woods

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Translating Girlhood: Nina Mhach Durban and Athen Kardashian at Soup

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What Is Art? American Artist & the Ugly Side of Reality

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Daughters of the Dust: The Radical Soil-Based Work of Contemporary Women Artists

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What Does the Future Hold for India’s Rapidly Growing Contemporary Art Market?

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Saliva Lounges and Pram Playgrounds at the Biennale de l’Image en Mouvement 2024

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Quiladelphia: Americana Coded OnlyFans Stars Occupy the White Cube

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On shiey, YouTubers, and illegal freedom

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Pope.L and Adam Pendleton: “Art Can Mobilize Your Body”

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How ‘Pictures of Us’ Channels the Universality of the Human Experience

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How Southway Studio is Curating a Cultural Ecosystem in Marseille

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Ferrari, birdsong and the forces of nature: Nico Vascellari in Florence

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‘We Can Become Limitless’: Soull and Dynasty Ogun on Their Art World Debut 

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