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

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

I couldn’t in good conscience accept an invitation to an exhibition hosted and sponsored by a brutal regime.

Bill Viola's installation at a Naples church misses the spiritual mark.

If art is power, as Farah Nayeri's Takedown consistently shows, then how can galleries and museums successfully negotiate relationships of power?

In 1911 Matisse created "The Red Studio," a self-enclosed world in his studio, by showing 11 earlier works of art, without the presence of the artist.

Minimalism sought to empty out narrative pictorial content. Scully's goal has been to put it back.

Bayrle creates an art gallery version of computer reproductions of unreality. His art inhabits a world composed of repeated ready-made images.

The artists in Staging Injustice: Italian Art 1880-1917 faced a real problem: how to represent injustices and project a hopeful vision of what changes were possible?

It can be tempting to compare these historical Indian paintings with familiar examples from the Euro-American canon but that would do a disservice to these artworks, which are revelatory on their own.

Following cogent survey of the modern art museum’s history, The Art Museum in Modern Times turns to a challenging discussion of the present problems of modern museums.

Lydia Goehr's Red Sea–Red Square–Red Thread is so ambitious, so original, so detailed, and so poetic that it transcends mere commentary and becomes itself a distinguished contribution to philosophy.

What’s difficult, perhaps impossible, to show in art is the experience of what passes beyond all comprehension.

Thomas was a major artist who in her lifetime was unjustly denied the acclaim she merited. This show is a brave beginning.

For Lewis, a first-generation Abstract Expressionist, working with black seemed to open up his art.

Judith Bernstein is a great artist whose boldly original paintings forcefully respond to the troubled life of our present culture.

The problem with many of Kandinsky’s abstractions is that they don’t offer enough immediate visual information to “crack” his expressive code for color and form.

Does an attempt to lift up the art of Marisol backfire?

Gorchov is an artist whose best pieces are purely aesthetic and totally present, here and now.

With Afghanistan’s “war rugs” a traditional art form was updated in response to the country’s brutal invasions by other nations.

Jackson’s exhibition The Land Claim began an extensive dialogue with local Indigenous, Black, and Latinx families on Long Island’s East End.

Taylor’s paintings emphasize that golf and horse racing, though once exclusively activities for privileged white men, depended on the support of men who were almost invariably Black.

The Benjamin Files by Fredric Jameson explains everything by reference to everything else, in a way that often makes the narrative all but impenetrable.

TATTOO: 1730s-1970s. Henk Schiffmacher’s Private Collection is strong on the presentation of images, but says very little about their meaning.

Coming from a secular perspective, it seems strange to speak, in almost mystical terms, of being taken out of oneself.

Where indelible images restlessly bond with the ambiguity of words.

Monuments are built only when the political struggle they commemorate has been definitively won.

Writing a global art history demands that we give up historical thinking.

Like the international financial markets, the art museum is a controlling Western institution.

Like cabinets of curiosities from the old regime, art museums often display plunder.

Loren Munk’s “SOHO Map” offers a visual record of a densely peopled art world.

Liberation Wall by Kyle Holbrook and Moving Lives of Kids Community Mural Project commemorates people and events that deserve attention right now.

What is the relationship between Félix Fénéon’s politics and the art he admired?

An-My Lê is a Vietnamese-born photographer who has portrayed — and participated in — re-enactments of the Vietnam War.

What can we say about an image that understood Trump’s root persona early on, and froze it in time?

What comes after postmodernism is less interesting than the changed nature of the art system and art writing.

How will the internet transform the way that contemporary visual art is created?

Maria Bussmann’s elusive drawings acknowledge the impossibility of fixing philosophical terms in imagery, like bugs in amber.

Like art, morality persists despite dramatic cultural transformations.

Like his best works, Sean Scully’s “Black Square” is oddly exhilarating, especially because it is initially grim.

To represent the world is to understand it, and to understand it might, hopefully, help cope with a plague.

Leo Steinberg’s compelling essays pull you into the interpretative process, asking you to see the drama he unpacks.

I fear that the visual culture in which these works were admired is now one of those distant “you had to be there” moments, which are impossible to reconstruct.

It’s hard to identify precedents for Christopher Wilmarth’s sculpture, which uses its banal modern materials purely abstractly.

To manipulate the historical record, I would think, is to abandon the search for truth.

Wiley shows us that a Black man can indeed take the place of Napoleon.

All that I saw were some small and medium-sized paintings, mostly very dark, almost indistinguishable. How could I review this show?

Now and then, I suspect that an honest art writer might feel as if he or she is losing it.

Who would have thought that still lifes would create such a strong reaction?

Kirchner was the anti-Matisse.