April Bernard began Miss Fuller to explore the pathos of Margaret Fuller’s short, freethinking life.

Although beauty’s fragile existence indicates its imminent end, our culture seems determined to keep youth’s flawless face and undeniable power on extended loan.

Working for Isamu Noguchi in the 1980s, Bobbie Oliver saw the time this artist took to study a stone before altering it in any way.

Mimi Thompson and Keith Sonnier on how Lluis Lleó’s family lineage and his interest in cooking inspire him, as well as how his paintings dare to extend out into space.

Mimi Thompson on how Stanley Whitney’s colorful grid paintings aspire to “density with a lot of air.”

Mimi Thompson on how Sheila Berger’s paintings manage to brilliantly evoke emotions, places and times.

Chambliss Giobbi borrows from Cubism and Futurism in his collages, made up of torn photographic pieces sealed under beeswax.

Thomas Shannon’s floating world has a precision that can be paired with dreams. Using Earth’s gravity as mean point, a kind of beginning, Shannon guides inert materials such as aluminum and wood to release their weight.

In a time when science and art refuse to behave categorically, Judy Pfaff’s work moves even farther beyond, bending the rows that keep things in line.

Using her architectural skills and her knowledge of industrial materials, Rita McBride pushes fine art into the world of politics, questioning the highly programmed experience of art viewing and creating work and catalogues that, in her own words, “don’t fit” in any category.

Inside Billy Copley’s subconscious, cartoon characters, declarative statements, and phonetic alphabets battle for attention.

Mimicking the methods of the news media, Johan Grimonprez has created an anxiety-provoking, manipulative, and exhilarating 68-minute film titled dial H-I-S-T-O-R-Y.

Jeanne Dunning creates work brimming with a macabre stylishness.

Wilson discusses her “weather” paintings with Mimi Thompson.

“I see these objects that I produce as existing in a very impure world, fraught with entropy and dirt.”

Two ink and crayon works on paper by Mimi Thompson, titled Norway and Lady in a Hat, by Mimi Thompson.

April Bernard and Mimi Thompson speak with the legendary American painter on the eve of a Fall 1986 exhibition of his work, getting to the bottom of Lichtenstein’s brushstrokes and revealing his true feelings about comics.