For BOMB’s Oral History Project, Odita, known for his geometric paintings, recalls growing up as a refugee from the Nigerian Civil War and the influence of his father, a historian of African art.

Party creates vivid pastels and transformational installations that lure viewers deep into the backstories of his subjects.

“I would like to do more of that kind of thing: travel, spend some time in a place and really work from a different vantage point. I don’t know what will happen in my work from that, but I trust my ability to find the tools to find my way into my work. I think I will sit out in the woods more.”

In Gangloff’s latest paintings, student protesters at Cooper Union (her alma mater) loom large. With sculptor Masnyj she discusses her path of becoming a painter of her peer group.

How would you define these works as public art, and maybe you could talk a little bit about the origin of them, how these commissions came to be and what you think about them in terms of their “public-ness”?

Check out the mural by Gustavo and Otavio Pandolfo on East Houston and Bowery.

Carmen Boullosa talks with Gabriel Orozco about how remnants of the natural world and the everyday are utterly re-imagined in his work.

Bill Fitzgibbons gives background information on Alex Rubio, the artist who created the cover image for this issue of BOMB, from Rubio’s upbringing in the San Antonio Barrio to his current pieces.

Lincoln Perry’s mural at the University of Virginia re-envisions the building’s view of distant mountains as the acme of a kind of secular Pilgrim’s Progress.

Sol LeWitt bridged the gap between Minimalism and Conceptualism, foregrounding the disparity between the world of language and that of objects and actions.

Raymond Pettibon found his calling as an artist at about the same time punk hit Los Angeles in 1978.