Mary Corse uses the same type of paint that is used on road signs, which refracts light and almost seems to glow internally. When it’s used in the service of art, however, she proves there’s more to her paintings than paint and canvas.

Dominique Fung uses familiar Surrealist tropes to address Orientalism and a damaging collective fantasy of the West, insisting that the freeing of the unconscious mind might not be all good.

Nathlie Provosty has mastered a notoriously independent medium: watercolor. Showing a remarkable ability to control its properties, she creates pieces that feel at once liquid and solid.

Leonora Carrington was both a surrealist painter and writer. Wendi Norris Gallery has brought her work alive by staging a live dramatic reading in front of these sinister works.

Carla Prina was an Italian abstractionist with her own perspective. Little known outside her native Italy and adoptive Switzerland, Shin Gallery revisits a woman deserving of much more recognition.

Lorna Simpson’s monumental show at Hauser & Wirth is cast in shadows of vibrant blue––a color with a rich and complicated history when it comes to the representation of race.

Though her flower paintings appear to be of the 21st century, Shara Hughes takes a cue from the Golden Age of Dutch painting, more specifically, the tradition of vanitas.

There is a special place in my heart for the coast of Maine, something Nancy Cohen and Susan English understand, as both their solo shows take inspiration from the great state and its rocky coastline.

What’s the state of the still life in a contemporary art world dominated by mixed media and large scale? Susan Jane Walp shows us that a genre that’s existed for millennia is still going strong.

Leonor Fini’s first U.S. retrospective is being staged at an unexpected venue: the Museum of Sex. This is no coincidence, as sometimes it is an outsider’s voice that makes us pay attention to what matters most.

Hilma af Klint channeled her artistic impulse from a higher realm. Contemporary critics seem to look down on her spiritualism. less than half thinks this is a mistake.

Jennifer Packer shows a remarkable ability in understanding the relationship between her subjects’ forms and the edges of their frames, giving them a centeredness that asserts itself on the canvas, giving power to people who have been left out of the canon.