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How ‘South West Bank’ Tends the Legacy of Palestinian Life and Culture

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

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Ai Weiwei and the Art of Nuance

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Nairy Baghramian is Slouching Towards Abstraction

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

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‘In the Now’ at the Brooklyn Museum Explores How Race, Ethnicity and Religion Shape Perceptions of Gender

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Andrés Anza, I only know what I have seen, 2023, Image courtesy of Simon d’Exéa

What We Can Do With Our Hands:  Loewe’s Foundation Craft Prize

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On Being an Angel: Francesca Woodman and Julia Margaret Cameron at the National Portrait Gallery

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Something Feels Slightly off in Emanuel de Carvalho’s Monumental Paintings

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Orlando Estrada’s Mindscapes

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Sex Out of This World: Science Fiction, Fantasy and the Erotic at Project Native Informant

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Tracing History’s Footsteps: Tammy Nguyen’s A Comedy for Mortals: Purgatorio at Lehmann Maupin, Cromwell Place

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No Doormat: The Anatomical Venus Made From Carpet Yarn

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Exteriors: An Ode to Annie Ernaux and the Everyday Encounter

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Matt Connors Cured my Referential Mania

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The Best of Art Dubai 2024

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Past and Present Are Bound in Kat Anderson’s ‘Mark of Cane’

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Are They Play Fighting? Gundula Schulze Eldowy and Robert Frank at Akademie der Künste

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Monstrous Beauty and Beautiful Monsters: Love Love Love at Soft Opening

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The Third Time’s the Charm for Louis Osmosis

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Textiles As Sites of Subversive Narrations: ‘Unravel: The Power and Politics of Textiles in Art’ at the Barbican

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Reina Sugihara Chases Misunderstandings in ‘Island does not know the sea’

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This is not a game: On Aria Dean’s Abattoir

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Making our Mark: The Time of Our Lives at the Drawing Room

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