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Alexander Calder, Crown of leaves, c. 1940

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9 Brooklyn-Based Artists Who Are Shaking Up the Next Generation’s Creative Class

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Emma Kohlmann on Internet Nostalgia, Intuition, and the Zines That Started It All

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George Condo and the “Many Selves” We Inhabit

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On (and In) Love with Rene Matić: Britain’s Youngest Ever Turner Prize Nominee

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The Florida Man is Dead. Long Live the “Florida Boys”

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Residencies, Recognition, and Rising Voices Shape Atlanta’s Art Fair

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What Makes Art Human? AIR Aspen’s Reckoning with Tech, Nature, and Itself

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New York’s First It Girl, Bibbe Hansen

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In Ilana Savdie’s Tumultuous Paintings, the Next Move Always Awaits Around the Corner

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Of Bodies and Borders: Felipe Baeza and Seba Calfuqueo on Survival and the Right to Remain Unseen

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Julianknxx and the Spirit of Performance

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An Artist’s Notebook is the Greatest Form of Expression: Zach Harris on His Creative Process

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1-54 Art Fair in Marrakech Allows African Artists to Be Themselves

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7. Fergus Greer Session 7, Look 37, June 1994 (c) Fergus Greer

‘If You Label Me, You Negate Me’ An Exclusive Preview of Leigh Bowery at Tate Modern

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Martina Cox: Bound for Pleasure

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The Moments That Defined Nigeria’s Artistic Landscape in 2024

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Anna Thérèse Witenberg’s Choreography of Love & Envy

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Tobias Bradford and the Titillating Macabre

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Danny Fox’s Exhibition at Henry Taylor’s LA Space Is a Full Circle Moment

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Tosh Basco’s Body is a Conduit for Her Vision

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Hospital Rooms and the Art of Recovery

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“Every Version of it Tore Me Apart”: Zia Anger on Her New Movie ‘My First Film’

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Allison Katz on Pompeii, Painting and ‘In the House of the Trembling Eye’

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