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ART/ICLES
Tosh Basco’s Body is a Conduit for Her Vision
ART/ICLES
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Hospital Rooms and the Art of Recovery
ART/ICLES
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“Every Version of it Tore Me Apart”: Zia Anger on Her New Movie ‘My First Film’
ART/ICLES
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Allison Katz on Pompeii, Painting and ‘In the House of the Trembling Eye’
ART/ICLES
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Getting Deep with Paul Waters
ART/ICLES
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Palm Heights Mas Band Reinvents Carnival with Floats by Artists Naudline Pierre and Caitlin Cherry
ART/ICLES
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Imran Perretta’s Monument for a Dream
ART/ICLES
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Hans Ulrich Obrist’s Ideal Festival
ART/ICLES
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Lawrence Lek Is Awarded the 2024 Frieze Artist Award
ART/ICLES
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Ser Serpas is Everything, Everywhere, All at Once
ART/ICLES
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How ‘South West Bank’ Tends the Legacy of Palestinian Life and Culture
ART/ICLES
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Inside Yael Bartana’s Dream of a Post-Planetary, Boundless Utopia
ART/ICLES
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Karla Ekaterine Canseco’s Practice of Excavation
ART/ICLES
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A Deep Dive Into the Whimsical Work of Isabella Ducrot
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Xingzi Gu’s Echoes of Erotica
ART/ICLES
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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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Unsung Heroes: The Women of the New School of Paris
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Frieze x Deutsche Bank Emerging Curators Fellowship to Partner with Ikon Gallery for Fifth Iteration
ART/ICLES
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Who is Kiki Xuebing Wang? The London-based painter exploring memory and perception
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What Peter Hujar’s ‘Portraits in Life and Death’ Taught Us About Grief
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They Can Leave if They Want: Ann Liv Young’s “Marie Antoinette”
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