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.

Jessica Sara Wilson has assembled block like constructions of nightlights, which she has placed next to animations of emergency vehicles. By abstracting the colors of these spinning and flashing light signals, she might have something to say about how we process trauma.

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.

Agnes Martin spent much of her life in Taos, New Mexico, an artist colony with a rich connection the the New Mexican landscape. 19th c. weavers of the Navajo tribe, immersed in the same environment, wove blankets of beauty and power. This show at Pace unites these two bodies of work.

Anna Atkins was one of the first photographers. Ever. The influence of her pioneering work with the newly invented cyanotype endures today in two exhibitions on view at the New York Public Library.

Svenja Deininger is skilled in filling her canvases with a variety of textures from leather to woven fabric— but does this pull her work a little too close to the category of furniture? less than half discusses whether or not Deininger has succeeded in making great art.

In her retrospective “Other Situations” at el Museo del Barrio, Liliana Porter says a whole lot with very modest tools: mostly plastic figurines, tchotkes, collectible porcelain, and a whole lot of wit.