In Vermeer’s paintings, the world is much larger than we imagined and yet somehow deep, meaningful, and magical.

Joan Brown resented the easy commodification of her work, and the incessant demand for her to create something just so others could own it.

In the work of Rubens, painter Anthony Daley finds correspondences of color that can carry expressive meanings abstractly.

Sendak’s illustrations carry weight all on their own for children and adults alike, and this book beautifully captures his prolific career.

What distinguishes Ledgerwood’s work from the earlier generation of women artists working in the domain of Pattern and Decoration is its bluntness and humor.

A small but impactful exhibition at the Utah Museum of Contemporary Art complicates questions of identity and the canon.

The semi-durational installation The Mountains Wore Down to the Valleys poetically frames the challenges of the pandemic, and more.

The 1969 exhibition 5 + 1, and now Revisiting 5 + 1, are reminders that the history of Black Art in the United States is diverse rather than monolithic.

The artist’s solo US museum debut at the Baltimore Museum of Art is a contemptuous, at times satirical, take on oppression that gives way to a new history.

Simulation Sketchbook takes as its starting point the reality that digital artists, like all artists, sketch out their work as well.

How does a selective competition fit with the contemporary art world’s aspirations toward greater inclusivity?

In this online exhibition, Indigenous artists reclaim realities long denied them by US and Canadian federal governments — including moments of collective reverie.

In her novel Tell Me I’m an Artist, Chelsea Martin questions whether art offers a refuge from the world.

The works that best exemplify a uniquely German grotesque in Reexamining the Grotesque are those that reflect the war and Weimar years.

Miguel Calderón examines class, violence, and corruption in Mexican society with macabre, irreverent humor.

How do we consider land-inspired art in an age when huge swaths of our shared world are being clear cut, mined, drilled, and desertified?

Hartung’s work most likely didn’t go over well in the heyday of conceptualism, earth art, and the literal use of materials.

A documentary trilogy follows the life of Thich Nhat Hanh, who expounded the principles of engaged Buddhism.

The French painter felt he had to rise to the challenge of one question above all things else: What exactly is it to be a modern artist?

Philipsz's haunting sound and video artworks serve as a poignant witness to the lives and artistry of victims of the Holocaust.

In Seongmin Ahn's paintings, it is not our past we are looking at but our possible future.

Born in Shiraz, Sokhanvari fled Iran as a child a year before the Revolution and has devoted her artistic practice to the country she left behind.

Asawa’s life masks do not keep count of past or future losses.

Jean Renoir's newly restored 1939 classic proves that lawless wealth — then as now — makes a marvelous farce of us all.

Her solo exhibition at the Los Angeles institution demonstrates how natural light can turn an overlooked, everyday setting into a sublime landscape.

Nicola López and Paula Wilson’s exhibition Becoming Land considers anthropocentric relationships with New Mexico’s desert landscapes.

20th Century Indian Art: Modern, Post-Independence, Contemporary surveys the many distinct aspects of art in South Asia.

A little detail in an artwork can reveal that sometimes what is right on the surface can change our understanding of the whole.

Oh Shit! retraces the historical arc of feces from ancient Rome to the sewage challenges and potential innovations of the 21st century.

How two beloved institutions showcase and support artists working outside of the mainstream art world.

Letters Unwritten to Naiyer Masud attempts to peer into the late writer Naiyer Masud’s concealed world.

The artist’s works resonate in West Texas, where the story of dehumanized and exploited migrant laborers is tangible and ever-present.

Saim Sadiq’s crushing debut, the first Pakistani film to be shortlisted for the Oscars, is imbued with a crisis of space.

The artist’s droll paintings present the pie chart as a useful monitor of a group’s behavior, while also revealing it to be exclusionary and superficial.

Gender play, kink, and futures that touch traditional lifeways are enduring features of Virgil Ortiz’s work.

Within this rich survey of 1990s ephemera is an homage to the modes of communication that forged community and identity prior to the internet.

Wakaji Matsumoto's photographs provide a glimpse of a world in the midst of transition into the next stage of global capitalism and Westernization.

But is it, really?

Each artist has one to three examples, in such a broad range of styles that if you can’t find something of interest here, that’s probably on you.

Hear Me Now: The Black Potters of Old Edgefield, South Carolina brings awareness of both Edgefield’s awesome artistry and poet-potter David Drake’s odds-defying life to a sizable audience.

Nathalie Djurberg and Hans Berg’s exhibition A Pancake Moon made me reflect on my experience of freezing my eggs.

Down Иorth: North Atlantic Triennial and CHART suggest a model of regional exhibition-making that refutes the essentialism common in contemporary art.

The aggressive kineticism of Futurism in Chase-Riboud's sculpture is tempered by a keen appreciation of the erotic and lyrical.

Squaring the Circle (The Story of Hipgnosis) is a reasonably informative, if rather dry, look at a subject with much more potential for exploration.

Odili Donald Odita challenges the long-held belief that abstract art is a purely Western tradition.

The long-gone art gallery afforded Black artists a space to create without having to consider the pressures of the commercial art market or the fickle nature of nonprofit art institutions.

Rachel Lears’s new film To the End is optimistic, perhaps to a fault.

Concurrent shows at the Delaware Art Museum highlight overlooked aspects of Pre-Raphaelite art and tread beyond typical gender hierarchies.

Two solo shows in Chicago are must-sees for anyone who cares about feminism and how it intersects with modernist architecture, urban planning, and design.

The pathbreaking artist recounts milestones in her life through letters she wrote to her mother.