Through reviewing Gluklya’s recent exhibition at the Van Abbemuseum, Ana S. González Rueda analyses the artist's feminist approach to collaborative practices.
In response to the exhibition ‘Frida Orupabo and Arthur Jafa– Medicine for a Nightmare’, Shama Khanna considers the mediation of violence and black pain in the art world’s white spaces.
Hestia Peppe reviews 'Kathy Acker: GET RID OF MEANING', the first comprehensive solo exhibition of Acker's work, held at Badischer Kunstverein, Karlsruhe.
Jay Drinkall reviews ‘Read My Lips’, the first comprehensive retrospective of AIDS activist art collective Gran Fury in the UK.
Keti Chukhrov reflects on Thea Gvetadze’s recent exhibition ‘Becoming Thea Merlani’ at M HKA, examining themes of emblem and monument in her work.
Jeppe Ugelvig examines ‘The Conditions of Being Art’ (2018), an exhibition at the Hessel Museum of Art that draws on the archives of experimental gallerists Pat Hearn and Colin de Land.
Roshan Kumar Mogali reflects on the recent exhibition ‘India Re-Worlded: Seventy Years of Investigating a Nation’ at Gallery Odyssey in Mumbai on the occasion of the seventieth anniversary of the country’s independence.
Carlos Garrido Castellano reviews Gregory Sholette’s 2017 book Delirium and Resistance, using examples of activist organisations and projects to discuss questions of praxis in Sholette’s artistic, political and theoretical work.
Jennifer Boyd reviews ‘Anu Põder: Be Fragile! Be Brave!’, an exhibition that places Estonian sculptor Põder in dialogue with an international group of artists: Ana Mendieta, Alina Szapocznikow, Ursula Mayer, Iza Tarasewicz and Katrin Koskaru.
Kristian Vistrup Madsen reflects on Adam Pendleton's manifesto for Black Dada through his recent exhibition 'shot him in the face' and the newly published Black Dada Reader.
María Iñigo-Clavo reflects on a recent exhibition that revisited the political and aesthetic responses to the AIDS crisis.
Jenny Brownrigg attends a performance by Charlotte Prodger and reflects upon the modes of attention it produces.
Line Ellegaard considers the strategies at play in an exhibition that reinterprets Århus Rapport 1961–1969, an anthology of experimental artistic activities in 1960s Denmark.
Kari Rittenbach probes the political economy of Thomas Hirschhorn’s 2013 monument in the South Bronx.
Josephine Halvorson reflects on David Schutter’s recent work, questioning what currency might remain in a shared language of paint.
Alison Crawshaw visits Rem Koolhaas’s exhibition at the Venice Architecture Biennale reflecting upon his fetish for obsessive expertise.
Ellen Feiss reflects upon the allegories of commodification to be found in Shelly Nadashi’s recent solo exhibition.
Mia Jankowicz reviews ‘Lost Referents of Some Attraction’, Malak Helmy’s recent exhibition at Sharjah Art Gallery, New Cairo.
Saul Anton visits the Whitney Biennial and asks how a museum can productively survey today’s different modes of art making.
Tess Edmonson visits Otwock, Warsaw and reflects on Mirosław Bałka’s initiative to bring international artists to his childhood home.
Holly Pester visits Hannah Rickards’s recent exhibition, reflecting upon the potential to be found in the inadequacies of language.
Vanessa Desclaux reviews Béatrice Balcou’s ‘One Thing at a Time’ at FRAC Franche-Comté and reflects upon the oscillations between work and repose in this curated situation.
Bárbara Rodríguez Muñoz reviews Eva Kotátková’s recent solo exhibition at Modern Art Oxford, reflecting upon her preoccupation with language as a corrective apparatus.
Helena Vilalta reviews the first Bergen Assembly, ‘Monday Begins on Saturday’, unravelling its portrayal of the artist as researcher.