#4 Portrait of Myriam Prévot, Museum of Fine Arts, Houston, 1969. Photographer_ Hans Hartung.

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

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What Peter Hujar’s ‘Portraits in Life and Death’ Taught Us About Grief

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Four Artists Exhibiting at TEFAF Share Their Fair Highlights

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Strap in for a Stellar Voyage With Keith Haring

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

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A Dirty Mirror in the House of God: On Maurizio Cattelan’s Sunday and November

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They Can Leave if They Want: Ann Liv Young’s “Marie Antoinette”

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Berlinde De Bruyckere Returns to Venice After 11 Years With New Works

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Inside The 2024 Independent Art Fair

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Running Laps in New York City: Sharif Farrag’s Frieze Photo Diary

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

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Zeinab Saleh on Art, Success and Cacio e Pepe

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Alberta Whittle’s LA Photo Diary

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Gallery Weekend Berlin: Where the Sublime and the Ridiculous Coexist

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Highlights From the New Art Dealers Alliance Fair 2024

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Ayé Aton playing his custom-painted drum set at the Bayou in Houston, Texas, circa 1990. Ayé Aton Personal Archives.

The Cosmic Reawakening of Ayé Aton

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How To Become A Dealer: Ellie Pennick

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The Best of Frieze New York 2024

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In the Migrant Art Gallery: Legacies of Colonialism at the Venice Biennale

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Who Is Piotr Drewko? The Gallerist Committed to Doing More

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The Bronx Documentary Center Walks the Walk of Community Engagement

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DAAR (Deconolonizing Architecture Art Research), Concrete Tent (2015), (Sharjah, 2023), photos by Edmund Sumner for Sharjah Architectural Triennial-1

Under the Concrete Tent: Reflections on Palestine During Sharjah Art Foundation’s March Meeting

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Seeing Red with Li Hei Di

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What Are the Advantages of Having Artist Parents?

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Jeffrey Gibson: Ancestral Superbloom

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Kameron Robinson’s Dominican Republic Photo Diary of MECA Art Fair

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Kiara Cristina Ventura Shares Intimate Streams of Consciousness from the Dominican Republic’s Lively Art World

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Fashion, Philosophy and Carnal Desire

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Howl at the Moon: Edith Karlson Is Liberating Our Primal Urges

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Bárbara Sánchez-Kane’s Impossible Fashion

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The Nigerian Renaissance in Venice

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How Ebony L. Haynes Curated Raymond Saunders’ Evolution Through “Post No Bills”

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Luar’s Raul Lopez Shares His Favourite Works from MECA Art Fair

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Elephant’s Top 10 Archive Titles from Denim Tears Much Lauded African Diaspora Goods

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Anna Park, Just Imagine!, 2024, charcoal, ink, paint, foam, paper mounted on panel, 177.8 x 228.6 x 10.8 cm © Anna Park, Courtesy of the artist

Anna Park: Miss (Imagined) America

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Why Women are Laying Themselves Bare in Visual Autofiction

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Melissa Cody Weaves Interdimensional Planes

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Institutional and Gallery Exhibitions on in Venice during the Biennale

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Artist Eva Gold on Destabilising Truth

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Who is Stephanie Comilang? The Artist Exploring Labour and Transition in a Globalised World

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Orlando Estrada’s Mindscapes

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Venice for the Inexperienced: Jeffrey Deitch Explains the Venice Biennale

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

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Trophy Lives: Philippa Snow and Ruby Dickson Make an Art of Celebrity Culture

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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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Venice Recommendations for When You Need a Break From It All

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What to See at the 60th Venice Biennale – the Elephant Roundup

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No Doormat: The Anatomical Venus Made From Carpet Yarn

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The Top 5 Booths at MiArt 2024

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Marie Watt on the Art of Storytelling and Collaboration

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Wilmer Wilson IV Locates Staples and Wood As Sites of Being and Communication

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Nari Ward’s New Monumental Retrospective Urges Us to Scratch Beneath the Surface

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Terence Nance is Deindustrialising Cinema

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COSMIC CALLING APRIL 2024 – ECLIPSE SEASON

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How To Become A Dealer: Hannah Traore 

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Claire Barrow’s Scare-Ride Down the Tombstone Freeway

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Reclaiming the True Purpose of Zombies: Guardians Predating White Zombie Appropriation

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Exteriors: An Ode to Annie Ernaux and the Everyday Encounter

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For Collective Ending’s Billy Fraser, It Is Time for the Art World to Talk About Privilege

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Matt Connors Cured my Referential Mania

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Clifford Prince King’s Photographs Will Catch You In Brooklyn

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Chiho Aoshima’s Ceramic Daydreams in Aquatic Blue

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How Absence Made Lisa Selby See Differently

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When Guerilla Girls Met Pussy Riot

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Traversing Demonic Grounds: In Ode to Rhea Dillon’s Quiet Feminism

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Maggi Hambling: 55 Years at Morley College 

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At the End of the World with Precious Okoyomon

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Hot Off the Press: Gallerist Tif Sigfrids Resurrects the Alt-Weekly

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Linder Sterling on Deep Fakes, the Buzzcocks and ‘Origin of Glamour’

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Taylor Simmons is Solidifying Black Cultural History

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Will the Apocalypse be Televised? – Eric White and Barbara Kruger Explore ‘Cursed Media’

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What Kaye Donachie Kept for Herself

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Encountering Toni Morrison in the Middle East

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The Human Sensorium is Jónsi’s True Canvas

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The Best of Art Dubai 2024

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Exploring Themes of Identity and Perception in Mao Yan’s ‘New Paintings’

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Who is Martin Eaton? The Restless Pioneer Who Has Finally Found His Home

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

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Wolf Alice’s ‘Blue Weekend’

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Terry Allen Just Wants to Get Back Into His Studio

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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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Che Lovelace on Carnival, the Caribbean, and Documenting the Vibrancy of Trinidad 

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Claudia Martínez Garay and Arturo Kameya Explore Peruvian History

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Danielle Brathwaite-Shirley Attacks Without Warning 

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What Newton Knows About the Impermanence of the Flesh: El Muerto at Lodos

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How to Stage an Exhibition – A Conversation With Thea Djordjadze

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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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Fragmented Faces: The Many Layers of Cindy Sherman

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THE GREAT WALL OF POSSIBILITIES

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

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Six L.A. Organizations Fostering Change Through Art at Frieze L.A.

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Essence Harden is Everything and Everywhere, All at Once

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Good in Any Hood: Andrew Pierre Hart Opens at Whitechapel Gallery

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Karina Sharif: The Elephant in the Room

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Sylvie Fleury’s Hot Tub Time Machine

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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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Sirens, Shame, and Cycladic Dreaming: Sofia Mitsola Draws From Ancient Greek Mythology and Playboy Magazine

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Terence Koh and Yuri Yuan Talk Tangible Isolations and Allegorical Togethernesses

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Behind the Lens: André Uncut’s Exclusive Photo Diary from the Opening of ‘Giants’ at the Brooklyn Museum

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Artificial Intimacy: AI, Love and Sex

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Doron Langberg’s ‘Night’ at Victoria Miro: A Sensual Exploration of Lust, Heat, and Temporality

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The Art Farmers: Hauser & Wirth Somerset’s Fresh Crop

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How Rachel Rose and Paulina Olowska Took Me Back to the Woods

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20 Years of ZⓈONAMACO: Elephant’s Highlights from the Anniversary Edition

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Translating Girlhood: Nina Mhach Durban and Athen Kardashian at Soup

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Inside Raphaela Vogel’s Penalty Box

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What Is Art? American Artist & the Ugly Side of Reality

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Daughters of the Dust: The Radical Soil-Based Work of Contemporary Women Artists

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What Does the Future Hold for India’s Rapidly Growing Contemporary Art Market?

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Saliva Lounges and Pram Playgrounds at the Biennale de l’Image en Mouvement 2024

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Species Lost and Found: The Evolution of Sally von Rosen

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Quiladelphia: Americana Coded OnlyFans Stars Occupy the White Cube

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Art, Propaganda and Resistance: ‘Self-Determination – A Global Perspective’ at Imma, Dublin

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10 Global Events You Can’t Miss Happening in the Art World in 2024

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For Mika Tajima, The Body Is A Mystery Land Full of Entry Points of Exploration

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On shiey, YouTubers, and illegal freedom

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The New Horizons in Saudi Arabia

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How ‘Unnamed Figures’ at the American Folk Art Museum Challenges Dominant Narratives of American History

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The Sickness Unto Little Death: Paulina Olowska’s ‘Visual Persuasion’

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Pope.L and Adam Pendleton: “Art Can Mobilize Your Body”

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Banks Violette’s Light Sculptures at Celine Boutiques Capture A Fall in Fourteen Acts

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Guadalupe Maravilla’s Healing Instrument

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How ‘Pictures of Us’ Channels the Universality of the Human Experience

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How Southway Studio is Curating a Cultural Ecosystem in Marseille

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At Lausanne’s Photo Elysée, a history of photography in three acts

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Sex Exhibitions and the Line between Objectification and Education

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Pullulating Boobs, Whining Children and Anthropomorphic Creatures: Spanish Painter Elena Garrigolas Isn’t Interested in Your Beauty Standards

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The Cowboy’s Long Ride Through Contemporary Culture

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Ferrari, birdsong and the forces of nature: Nico Vascellari in Florence

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How Lawrence Lek Built a Fictional AI Conglomerate Inside an Abandoned Berlin Shopping Centre

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‘We Can Become Limitless’: Soull and Dynasty Ogun on Their Art World Debut 

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The Eternal Ballad of Nan Goldin: Behind the Walls of Nan Goldin’s Last Retrospect

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