The 2026 Whitney Biennial and the New Museum’s exhibition “New Humans: Memories of the Future” are attempts to respond to a world full of darkness, trauma, and strife.

In Trump’s strategy of feigning madness to get what he wants, there is no longer any border between pretense and actual irrationality.

“I feel my fingers have eyes,” June Leaf once said. The need to literally feel her way through her work is a primary subject of her art.

The profile of the pedant has changed surprisingly across time periods and cultures, but what’s constant is that nobody wants to be called one.

Joseph Wright of Derby introduced chiaroscuro to British audiences, using everything from blazing bladders to ivory planets to illuminate his dazzled subjects.

Every low-resolution frame of Alexandre Koberidze’s Dry Leaf, shot on a nearly twenty-year-old mobile phone, enacts a drama of form.

The Guerrilla Girls used indisputable data and a dry, polished style to show that the art world, contrary to its self-conception, was deeply retrograde.

In Patrick Radden Keefe’s London Falling, an ordinary boy’s deadly obsession with the ultrarich reveals deeper corruption at the heart of modern London.

Three high-profile buildings by the eminent Ghanian British architect have just been completed, but allegations of sexual misconduct have severely damaged his prospects for future commissions.

Seamus Heaney’s complete poems, following on editions of his letters, prose, and translations, confirm the extent of his achievement.

Wifredo Lam’s paintings spring from a unique synthesis of European modernism and Afro-Cuban consciousness.

The world’s salt lakes are the canary in the coal mine for the climate crisis, and they are shrinking at a drastic rate.

An important exhibition showcases a painterly repartee that altered the trajectory of the two artists’ work and, by extension, modern art itself.

Ceija Stojka, who survived the Romani Holocaust, came to painting later in life to preserve the horrors of her childhood.

Paul Chan’s eerily animated sculptures pose the question of who gets to identify humanity in others.