Hyperallergic

Thanks to everyone who came to our member event yesterday at the International Studio & Curatorial Program (ISCP) in Brooklyn. We’re also grateful to the resident artists who opened their studios to Hyperallergic members and to the ISCP’s wonderful team, who greeted us with drinks and fortune cookies. Stay tuned for more in-person and virtual events in the coming weeks.Here’s some good news: The resistance is not dead. Fall of Freedom, a nationwide pro-democracy art and

Art Movements, published every Thursday afternoon, is a roundup of must-know news, appointments, awards, and other happenings in today’s chaotic art world.Yaddo Names New PresidentYaddo, the artist residency program in New York's Saratoga Springs, has named Cyra Levenson as its next president. Levenson, the current deputy director of Learning and Engagement at the Solomon R. Guggenheim Museum and Foundation, will succeed Elaina Richardson, who led the nonprofit for 26 years

Amid the current swell of vilification, exploitation, and brutalization directed at immigrants of all demographics residing in the United States, a public art initiative in New Jersey carves out space to celebrate the cultural diversity and contributions of its own immigrant community. Monumental outdoor commissions by artists Michelle Angela Ortiz, Chat Travieso, and Immanuel Oni were inaugurated across the state this summer through the New Jersey Monuments to Migration and Labor (NJMML) projec

The art and activism initiative Fall of Freedom is anchoring its second year with hundreds of events across the United States this weekend, October 2 through October 4. Public artworks, concerts, and exhibitions are among this year’s line-up, uniting artists and cultural organizations in the fight against an increasingly authoritarian Trump administration.Organized by a group of cultural workers including artists Dread Scott and Jenny Polak, playwright Lynn Nottage, and writer and curator

On the concourse level of the Smithsonian Institution’s National Museum of African American History and Culture is a small exhibition, easily missed if you are focused on the elevator that takes you down to begin this site’s profound historical journey. Titled A Century in the Making, the display details the long development of a building that at last made a permanent home for Black history on the National Mall in Washington, DC. One panel, headlined “An Architectural Marvel

Inheritance makes me think of money. Handing down heirlooms after a loved one passes, or being next in line for the deed to the family house. A one-way street, an open-and-shut door. But to Rebecca Ness, inheritance is akin to transformation: taking something old and making it new. Her latest show explores this by revisiting and updating historical paintings in contemporary contexts. Here she proclaims that all of art history belongs as much to her as to anyone else.In Inheritance, Manet’

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The Communist painter depicted the 1949–51 Foley Square trials while on assignment for a Marxist magazine.

"Just as Harlem is a truly cosmopolitan place, so, too, is the Studio Museum a cosmopolitan place. It’s not the home of Black art for Black people. It’s the home of Black art for all people," literary critic, historian, and Studio Museum trustee Henry Louis Gates Jr. writes in The Studio Museum in Harlem: A History. Set to be published on October 27 and distributed by Yale University Press, this new book brings together dozens of artists, curators, scholars, and community

For most of museum history, prints and drawings have lived in a kind of curatorial basement: light-sensitive, rotated sparingly, and confined to dedicated study rooms and print cabinets while paintings and sculpture hold the main galleries. That hierarchy, baked into museum architecture for over a century, is being interrogated in Drawn Together: Collections in Conversation, presented October 19 as part of the International Fine Prints & Drawings Association's Prints & Drawings Mont

It’s October, folks, so we’re officially in spooky season, the denouement of the year. Today, AX Mina shares their seasonal tarotscope, a collective reading for the fall art world. By the end of the year, they predict, many of the world’s conflicts will have played out. (Note: Hyperallergic is not legally liable for any failure of the universe to deliver.) Cycles and ends are certainly on the collective mind. Today, Senior Editor Valentina Di Liscia finds herself moved

The Milwaukee Art Museum has returned two 19th-century stoneware vessels by Dave (David) Drake to the descendants of the African-American ceramicist under an ownership transfer agreement that allows the objects to be displayed long-term. While the hefty jars serve as examples of ceramic mastery, Drake had also inscribed them with his name and brief poems during a time when Black literacy was criminalized in the antebellum South. “For our family, this agreement is about more than the owner

Scales and fur and flower petals, gossamer wings and morning dewdrops. Working on paper, whose raw, frayed edges belie the force of the composition within them, Derriann Pharr draws out the shape of a woman, long and animalesque, in "Squinching my eyes shut and wishing real hard (Honey’s Dream)" (2026). In "Bring My Bones Home!" (2026), a bulbous female figure coils around a tiny creature in a gesture of tender but watchful protection. Spiky sculptural elemen

I went to This Heat at the New York Studio School, curated by Jacob Brooks and spread across two galleries now twice the size after recent renovations, to see the works of Brenda Goodman and Steve DiBenedetto, and learn about those of Bendix Harms. I have followed and written about the first two for many years; I knew nothing about the last. I was intrigued by the exhibition announcement because it paired two longtime veterans of the New York art world with someone unknown to me. Was there

“I think as historians, we spend so much time asking ourselves how someone as prominent as Edmonia Lewis could be overlooked, but there are generations of artists who have been looking closely at her since the 1860s,” Melissa Ragain, the curator of a new exhibition at Montana’s Tinworks Art on the late Black and Indigenous artist’s legacy, tells Hyperallergic.On view at the Bozeman nonprofit art space through April 2027, Chisel & Razor: The Artistic Legacies of Ed

Military camouflage betrays its purpose in the latest installation at the Brooklyn Army Terminal (BAT) in Sunset Park. In Jean Shin’s Tidal Crossing, the artist presents three sets of military-style nets inside the arches of one of the terminal’s skybridges. Between each net, the artist has added camo banners overlaid with images of flora from the many places where the United States has waged wars. Shin’s installation, which opened to the public on September 19, is the final

Next up in the art world juggernaut that is September: Teresa Margolles’s solo exhibition at MoMA PS1, where she co-opts the language of minimalism to honor the lives disrupted or destroyed by borders, capitalism, and state brutality. Reviewer Alex Santana was struck in particular by an installation consisting of water collected from sites of violence around New York vented out of humidifiers. “This is a room anyone could walk into and walk right out of, perhaps mistakenly thinking

Minimalism’s potential lies in compressing a complex idea or feeling into a visually “simple” gesture — distilling its essence into an experience that cuts away the excess. In Teresa Margolles’s work, this unsparing trim attempts to show us something about ourselves: a system of violence so destructive that it reinforces and codifies notions of “us” and “them” across artificial borders, all in the name of capital. Margolles&#x20

This weekend's truly shitty weather was antithetical to the concept of utopia, but that would never stop Art in Odd Places (AiOP) from probing the possibilities of one. The public art festival's waterlogged 21st iteration splashed along the length of 14th Street in Manhattan on Saturday and Sunday, resisting the doom and gloom of a weeping nor'easter by engaging the public through performance and site-specific installations.Optimistic as it may be, however, the festival was not sp

Activists unfurled a 24-foot-long quilt protesting Immigration and Customs Enforcement (ICE) violence at the Minnesota State Capitol on Tuesday, September 22. Made of 11,000 individual patches representing individuals disappeared by ICE in the state, the “Stolen Neighbors” quilt was stitched together by dozens of volunteers over the course of five months.MIRAC member Owen Lubozynski told Hyperallergic that he was inspired to create the quilt based on discussions with activists abou