
Social Critique

The filmmakers question the conventions of documentation with work that seeks transparency and authenticity outside of the fiction–nonfiction dichotomy.

Jim Henson’s Netflix prequel is a masterpiece of puppetry filled with allusions to our contemporary moment.

This piece consists entirely of first sentences from 268 short stories published in The New Yorker over the past 20 years, from 1997 to 2017.

“I originally published this in 2007 thinking, Oh this is a fine book, but I will be joined by a whole lot of amputee writers, and they are going to be here any minute. I’m still waiting.”

From the Pentecostal churches of his youth to ’80s underground Goth punk and queer clubs to museums around the world, an iconic performance artist tells his story.

Wry installations and revelatory sculptures blend art-making and activism in Chin’s unique practice of transformation.

For her residency at the New Museum, Leigh looks at the act of healing through the lens of black female caregivers, educators, and intellectuals.

“Life has a soundtrack. And certain music is a soundtrack to a certain type of identity or feeling. 50 Cent, the Game, and those kinds of guys—they made us feel like our lives were worth nothing, basically.”

“We also looked into hysterical and mythological bad dads. And so we twisted all this material into questions like ‘Has your father eaten your siblings?‘”
