The pandemic has decimated the livelihoods of those who work in the arts. How can the new administration intervene and make sure it doesn’t happen again? A critic offers an ambitious plan.
At the Whitney Museum, the enduring legacy of the Kamoinge photography collective — 14 distinctive talents finally in the spotlight.
A $1.6 billion transformation of a post office has given the city a lofty, light-filled steel, glass and marble cathedral, our critic writes.
Naomi Beckwith, who succeeds Nancy Spector, comes from the Museum of Contemporary Art Chicago and will help the museum work toward a more equitable work environment.
Officials unanimously voted to protect the $50 million artwork after the San Francisco Art Institute threatened to sell it to cover debts.
As part of an exhibition at Miami Dade College’s art museum, Forensic Architecture planned to examine the treatment of migrant children at a nearby facility. The pandemic is only one reason that never happened.
For-profit experiential art centers are investing hundreds of millions of dollars in a business where audiences have evaporated because of the pandemic.
Marian Goodman Gallery and MoMA are reviving interest in multiples — art produced in affordable editions for the ’60s middle-class. Now, some artists are taking up the cause.
The $35 million initiative at the University of Texas museum, led by the firm Snohetta, features a Carmen Herrera mural commission.
Studio K.O.S. continues the legacy of the ’80s art collective that grew up, entered museums and regrouped in Hoboken.