Trying to critique a blockbuster museum show like “Picasso and Chicago” at the Art Institute of Chicago is kind of like trying to offer thoughtful criticism of Coca-Cola; at this point, there’s not much that can be said that would enhance or diminish the iconic status of either of these monolithic cultural forces. So why bother? Here are a few personal thoughts and observations about[.....]

As a part of our ongoing partnership with Art Practical, today we bring you a feature from writer Liz Glass on Sadie Barnette‘s exhibition at Ever Gold Gallery in San Francisco. Glitter and dirt; earthbound objects and slices of psychedelic space; the white cube and the club: these pairings are all present—and at odds—in Sadie Barnette’s exhibition, Composed and Performed. The exhibition is minimal in[.....]

For the Stedelijk Museum in Amsterdam to choose Mike Kelley for their reopening exhibition was, to say the least, symbolic. The Stedelijk opened its newly refurbished and expanded premises in September last year, after years (and years) of highly controversial, heavily debated and stupendously overpriced refurbishments. The enormous white bath tub that is now hovering in front of the institution’s old facade, (brainchild of Benthem[.....]

As a part of our ongoing partnership with Art Practical, today we bring you a feature from writer Bean Gilsdorf on UC Berkeley Art Museum‘s Silence exhibition. In Alan Moore’s graphic novel V for Vendetta, the main character tells his young acolyte, “Silence is a fragile thing. One loud noise and it’s gone.” On my way to the UC Berkeley Art Museum’s Silence exhibition, I had a related thought:[.....]

Today, we are excited to bring you coverage of SEE/SAW: Collective Practice in China Now at The Ullens Center for Contemporary Art (UCCA) in Beijing, from our partner ArtSpy, a website based in Beijing, P.R.China that is committed to establishing a platform for global artistic information. This article has been translated from Chinese to English. SEE/SAW ：Collective Practice in China Now was an exhibition held at Ullens Center[.....]

For both Walt Disney and Llyn Foulkes, it all started with a mouse. Mickey, to be precise, accompanied both men throughout their respective careers—Disney in a manner of lucrative iconography, and Foulkes in a manner of psychological distress. To most, the cartoon rodent was the paragon of jubilant youth, but through Foulkes’ lens, Mickey was a sanitized, furtive representative of the rats infesting the politics,[.....]

Central to Doug Aitken’s “100 YRS” exhibition at 303 Gallery is a new “Sonic Fountain,” in which water drips from 5 rods suspended from the ceiling, falling into a concrete crater dug out of the gallery floor. The flow of water itself is controlled so as to create specific rhythmic patterns that will morph, collapse and overlap in shifting combinations of speed and volume, lending the physical phenomenon the[.....]