Review

Celebrating the better hell of her own making.

An elegant portrait of a mother pig.

Queer, corporeal figures in a desert landscape.

A new book of writings and photographs by the acclaimed artist and writer.

Camilo Restrepo’s debut feature, Los Conductos, traces the wanderings of a wiry mendigo named Pinky, in a sepulchral unnamed city.

Prvački releases three wry videos offering coping strategies for our bleak and awkward new social reality.

Syan Rose’s intimate conversations with a wide spectrum of queer and trans people coalesce with her art as she portrays the people she spoke with.

In the 1890s in Berlin, a young sculptor started going out collecting plants.

Somewhere in post-Soviet Moscow, the narrator of Maria Stepanova’s In Memory of Memory rummages through the apartment of her recently deceased aunt and comes across a collection of family photographs, some over a century old.

An overdue publication dedicated to the practice of the interdisciplinary artist, educator, and founder of El Museo del Barrio.

A young Japanese journalist shooting a televised travel program in Uzbekistan confronts her deepest fears and hidden aspirations.

In 1919, André Breton and Philippe Soupault were coming of age in the wake of World War I and the Spanish influenza pandemic.

Reissued for the first time after fifty years, the Black Unity Trio’s rare and explosive free jazz album Al-Fatihah still resonates with the sounds of solidarity amid a scene of intense political struggle.

Artavazd Pelechian’s Nature is not about the end of the world, but you could be forgiven for thinking otherwise.

TV shows and films about alternate dimensions or alien planets are only convincing when paired with sounds that also seem otherworldly.

A sleek but sensitive compendium of cultural production and politics three years in the making and spanning more than two decades.

At some point in the late ’70s, when Douglas Crimp and I were art history doctoral students at the Graduate Center, CUNY, he invited me to the ballet.

In the series of images, de Barros licks a typewriter’s keys, then its typebars, before becoming increasingly ensnared by the typewriter.