Soon after artist Gabrielle Goliath was informed that her work Elegy was selected to represent South Africa at the 61 st ...

But in his series All Night Menu, the writer and publisher Sam Sweet offers yet a third, new form of LA history: that of the ...

Yoshio Taniguchi’s 2004 expansion of the Museum of Modern Art integrated the glass buildings on either side of the museum so that when you are sitting towards 54th street, in the Cullman offices, in ...

A soft, warm light morphs into a shadow of a woman’s braided hair on the back of her neck. There is the sound of faint footsteps as she moves around her flat, shifting objects in the kitchen, the ...

I got lost several times on my way to Casa Susanna, the exhibition I had set out to write about. It was a sticky Friday night in July—“date night” at the Metropolitan Museum of Art, as the Met ...

At three intervals throughout Vijay Masharani’s eighteen-minute video Good Attack (2021), the camera fixates on a sign hanging in a pet store above the cash register. The letters on the sign are ...

The best way to fuck something up is to give it a body. A voice is killed when it is given a body. Whenever there’s a body around you see its faults. Theory proves that. —Mike Kelley, Dialogue #1 (An ...

Decolonization involves destruction and upheaval, but in equal measures is a process of creation—a radical world-building that imparts not only a political but cultural and ecological heritage. This ...

The German American artist Eva Hesse kept meticulous diaries throughout the late sixties and seventies that account for both her personal and professional anxieties, her creative process and ...

Chicago has never really recovered from Imagism. That local explosion—whose blast radius stretched from roughly the late 1940s through the mid-1970s—gave the city’s art scene the frisson that it long ...

“What do you see when you look at pictures of President Trump’s cabinet?” asks writer David French in an interactive web exclusive that ran in the New York Times’s opinion section in late April 2025.

This is the first of two reflections Momus published on the occasion of Tehching Hsieh: Lifeworks 1978–1999, on view at Dia Beacon through 2027. Find the second, by Lisa Hsiao Chen, here. “I wanted to ...