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The Index
Puppy Love: Our Latest Liquitex Residency Artist Was Barking up the Right Tree
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Ready Player One: Who Wins When Videogames Invade Art’s Space?
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Stable Society: Amie Siegel Gallops through the Stately Homes of George Stubbs’ Paintings
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“All Colour Disappeared”: How the War in Ukraine Changed Anastasia Nekypila’s Art…
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Through the Looking Glass: Why Is Art Obsessed with Women and Windows?
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Brave New Worlds: Inside the Art of Meriem Bennani
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Elephant’s Pick of June’s Essential Artists
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Elephant’s LGBTQ+ & Inclusion Poster Design Competition
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Switches and Wizards: A Spellbinding Collision of Magic and Technology
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What Is Imagination? The Getxophoto Festival Has a Few Ideas…
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Who Watches the Watchmen? Pilvi Takala Goes Undercover…
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Can Art and Horticulture Grow Together? Meet the Avant Gardeners…
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The BALTIC Interviews: “Every Time I Come to Your Studio it’s a Magical Place”
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Embrace New Horizons by Buying Gabriela Giroletti’s New Print
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Material Gains: Unpicking Art in Fabric at the 2022 Biennale
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Bigger, Bolder, Ballsier: Our New Residency Artist Took the Chance to Cut Loose
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Elephant’s Pick of the Shows from Gallery Weekend Berlin
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The Eyes of Caroline Walker: “It’s Different When it’s a Woman Looking at Women”
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Something from Nothing: How Did Kazakhstan Rescue Their Venice Show?
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Indigenous Spaces: Venice Finally Gives Room to Forgotten Voices
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Thar She Blows! Reinventing Moby Dick for the Venice Biennale
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Melanie Bonajo: “The Oil Pool Where People Are Blindfolded Is a Ritual Space…”
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True Lies: Fact and Fiction in the Art of Stan Douglas
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Can Machines Really Make Art? The Venice Biennale Says Yes…
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