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Benjamin Verheijden
Taylor Simmons is Solidifying Black Cultural History
ART/ICLES
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The Human Sensorium is Jónsi’s True Canvas
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Encountering Toni Morrison in the Middle East
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Exploring Themes of Identity and Perception in Mao Yan’s ‘New Paintings’
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Past and Present Are Bound in Kat Anderson’s ‘Mark of Cane’
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Wolf Alice’s ‘Blue Weekend’
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Are They Play Fighting? Gundula Schulze Eldowy and Robert Frank at Akademie der Künste
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Terry Allen Just Wants to Get Back Into His Studio
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Monstrous Beauty and Beautiful Monsters: Love Love Love at Soft Opening
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Che Lovelace on Carnival, the Caribbean, and Documenting the Vibrancy of Trinidad
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Claudia Martínez Garay and Arturo Kameya Explore Peruvian History
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Danielle Brathwaite-Shirley Attacks Without Warning
The Index
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What Newton Knows About the Impermanence of the Flesh: El Muerto at Lodos
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How to Stage an Exhibition – A Conversation With Thea Djordjadze
Art Living
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Textiles As Sites of Subversive Narrations: ‘Unravel: The Power and Politics of Textiles in Art’ at the Barbican
On View
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Reina Sugihara Chases Misunderstandings in ‘Island does not know the sea’
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Six L.A. Organizations Fostering Change Through Art at Frieze L.A.
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There’s Something Brewing in Los Angeles: The Elephant Frieze Roundup 2024
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‘Glass House’: Deconstructing Our Idea of Home with the Synergy of Art Forms
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Essence Harden is Everything and Everywhere, All at Once
In Conversation
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Good in Any Hood: Andrew Pierre Hart Opens at Whitechapel Gallery
In Conversation
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Paulo Nimer Pjota on Evoking Myth and Mysticism
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Karina Sharif: The Elephant in the Room
ART/ICLES
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Sylvie Fleury’s Hot Tub Time Machine
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