Features and Criticism​

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Sarah E. Bond, An Ancient Roman Guide to Trump’s Authoritarian Playbook

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Erin L. Thompson, The Rembrandt Thief Who Came Out On Top

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Uzma Afreen, The Unsung Labor of New York’s Henna Artists

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Jasmine Weber, The Artist Who Taught James Baldwin to Write Like a Painter

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Zoë Lescaze, How the Wound Man Healed Medieval Europe

 

Laura O'Connor, Stripper Collective’s Life Drawing Merges Sex Work and Art

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Kurt Hollander, The Uncertain Future of Colombia’s Museum of Memory

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Ridikkuluz, Arewà Basit on Her Amy Sherald Portrait and Alchemizing Trans Joy

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Opinions

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Christina Sharpe and Rinaldo Walcott, The South African Pavilion Is Betraying Its Own History

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Rose B. Simpson, We Can’t Afford to Lose the Institute of American Indian Arts 

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Theo Downes-Le Guin, Curating a Show on My Ineffable Mother, Ursula K. Le Guin

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Rashida Bumbray, Koyo Kouoh’s Final Lesson on Pan-African Solidarity

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Adam Broomberg, Israel’s Plan to Artwash Genocide at the Venice Biennale

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Clementine Bordeaux, Mount Rushmore Is Not My Monument

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Sara Nadal-Melsió, I Lost My Job at the Whitney, but the Art Community Lost Much More

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Wafa Ghnaim, Reclaiming Palestinian Beauty, One Wall Label at a Time

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Siddhesh Gautam, Dalit History Month Is Not a Token

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Emiline Smith, The Louvre Heist Was a Colonial Wake-Up Call

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Interviews

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Kaveh Akbar, Orhan Pamuk’s Secret Paintings of Time

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Yashica Dutt, Pyaari Azaadi Names a Revolution

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Sháńdíín Brown and Zach Feuer, A Diné Weaver’s Revolutionary Looms