On View

Mélange: Paris Art Week’s Rebellious Younger Sibling

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Edward George Has Composed a Peculiar Kind of Atlas

Interviews
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The Very Best of London’s Frieze Week 2025: Outside of the Tent

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What Does a Rachel Jones Painting Sound Like? Errol and Alex Rita Asked Three Artists To Turn Her Work into Music

Artist X Artist
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The Rage Of Miriam Cahn

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WSA’s Duet Makes Mall Rats Of Us All

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Márcia Falcão’s Canvas is a Box, and Her Containment is Not Neat

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“A Homecoming Of Sorts”: Frank Bowling’s Work Arrives Back in South America

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The Six Shows You Can’t Miss at Berlin Art Week 2025

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Monopole Universe: A Saunter with Jame St Findlay

In Conversation
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Rambert and (LA)HORDE Have Choreographed Dance for the Post-Internet Age

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What Grows in Harley Weir’s Garden

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In Marseille, At Least, the Kids Are Alright: Highlights from ART-O-RAMA

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From Her Own Time, Maruja Mallo Was Already Speaking To Ours

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Five Nights at Berlin Atonal: A Guide to the Festival Through the Eyes of its Artists

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Christelle Oyiri Is Remixing the Archive

Interviews
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HARDCORE / LOVE: A Conversation with Mark Leckey

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This Year’s Seattle Art Fair Honors the Studio Glass Movement’s Past, Present, and Future in the Pacific Northwest

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‘Freudian Typo’ Asks Audiences to Consider Not Just What’s Being Said, but What Can’t Be Spoken

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Whitney Claflin and the Ghosts of Indie Sleaze

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From Fabulation to Fermentation: Walking Through Magical Realism at WIELS

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“Such Tarts All Crumbling”: Edward Burra at Tate Britain 

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Painting Mysticism and Metaphysics… Philip Smith Was Doing It First 

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Laughter, Tears, ‘Gaaaaaaasp’: A Conversation with Alexandra Metcalf

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