I never thought I would become an art critic who complains about exhibition didactics. And yet, after a visit to the 36th Bienal de São Paulo, here I am.

The publication of “Chroma” represents an important shift by museums toward recognizing polychromy and its entanglement with white supremacy.

After a stint in 1950s New York, the LA-based artist abandoned abstraction and painting in favor of dreamlike, sexually charged drawings.

Through oceanic quilts and photographs, the artist transforms Miami’s waters into a site of refuge, memory, and belonging.

From one angle, her sculptural constructions appear deep, but from another flat; here they look angled, there not.

A Texas university shutters a show critiquing ICE, a medievalist’s ode to a 15th-century Black angel, and “Ponyo” arrives in LA.