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The “Obamalith” is unveiled while the School of the Art Institute of Chicago wages war against its students’ imagination.
His work over a prolific six decades ranged from psychologically precise portraits to luminous depictions of California pool sides.
“Without the fabric there would be no painting.”
San Antonio’s Department of Arts and Culture challenged the NYC agency to make a deal: Whoever loses Game 5 posts their favorite artwork in the winning city.
From Indigenous survivance to quilting to modernism, these exhibitions and projects reframe and challenge the story of the United States.
The radical feminist author of “SCUM Manifesto” and the bygone world of Warhol’s Factory come to life in the 1996 film, now restored to 4K.
The SAIC cracks down on a professor’s thought experiment and the Obama Presidential Center embodies a nostalgic idea of public life.
“Nothing stops me except the publishing industry,” quipped the novelist and AIDS historian, who cut her teeth as an East Village journalist writing for queer and feminist papers.
The Houston institution said Clarence Heyward's self-portrait "Man in the Garden" (2025) was deliberately vandalized by visitors.
A professor at the School of the Art Institute of Chicago asked her students to imagine a way to help someone they might encounter. Leadership found that beyond the pale.
The new campus is an expression of the former US president's civic ideals, and a reminder of how distant they now seem.
The institution cited “a shift in the political and funding environment” and said staggered furloughs would help avoid layoffs.
This week: Jean Shin’s memorial to the trees of Greenwood Cemetery, Yemeni cultural heritage experts, the 250th anniversary nobody wants, Pride bar-hopping, and more.
Dr. Steven Nelson to helm the nonprofit, Aperture HQ's fall opening date, and, uh, the New Museum partners with Penske Media?
Plus, the largest survey of Arthur Jafa’s work is coming to New York.
A hundred works by Indigenous artists tracing creative resilience over the course of a century will go on view at the institution in August.
This week, we honor a champion of Southeast Asian art, the giant behind “Persepolis,” and a photographer dedicated to London’s East End.
The two-floor show will premiere new works alongside the artist’s iconic pieces, such as "Love is the Message, The Message is Death."
At her longtime studio in Tribeca, the Palestinian-American painter discussed her experimentation with color and how she “accidentally stepped into abstraction.”
Plus, a child punctures a Magritte in Israel, and Nayland Blake speaks with Hyperallergic about eroticism, play, and the role of the artist.
Merryn Omotayo Alaka and Sam Frésquez steamed, cut, and sewed together lengths of hair by hand to create an ecosystem of biomorphic sculptures.
The author and memoirist spoke to Hyperallergic about curating the work of Cuban painter Rocío García, whose characters linger in the space where power and pleasure meet.
On view at the Manetti Shrem Museum through June 20, the multidisciplinary exhibition features projects by 20 arts graduate students.
Refik Anadol’s Dataland is a whirling, glaring, hyper-stimulating audio-visual-olfactory voyage that has more in common with Disneyland.
A joint biography of Peter Hujar and Paul Thek, a catalog on Martin Wong’s Chinatowns, Catherine Opie’s portraiture, queer nightlife through the ages, and more.
Linda Ganjian worked to salvage pieces from water damage after a blaze erupted in the Long Island City building where she and Ilan Averbach had studios.
“You have to be a person who champions other work,” they told Hyperallergic, “so that you build the context within which your work can be legible.”
We started our series of interviews with queer and trans elders, and the Guggenheim kicks off its World Cup screenings.
The Chicago school is investigating the chair of its art therapy graduate program after she assigned a case study that touched on pro-Palestine activism.
René Magritte's “The Castle of the Pyrenees” (1959) was removed from view to undergo restoration.
