I penned the bulk of this review on the back of conversations with friends when we watched the film after it came to Hulu in the summer of 2023. But I sat on it, convinced that no one in the broader public had seen Chevalier — or ever would.

“I’m not fit to be a mother. There’s something else I’d have to do first — to change myself from a doll to a real human being.” With these words, Nora Helmer (Sarah Wharton) leaves her husband Torvald (Stephen Dexter) at the end of Royston Coppeneger’s new translation of Henrik Ibsen’s A Doll House (2024).

Often, you'll hear a painter mutter enviously while looking at a painting something along the lines of ”Damn. He just did whatever the hell he wanted.” Variations of this phrase were doubtlessly uttered many times over the last month throughout the adjoining galleries of David Zwirner’s 19th Street location, where Raoul de Keyser’s paintings hang on the walls, their apparent haphazardness inoffensively contrasting with the sky-lit gallery space.

I knew I wanted to write a review of Steven Soderbergh’s Presence when I walked out of the theater and a man in front of me exclaimed to a woman by his side, "That was dogshit!" 

Ken Collins’s portrait of Richard Diebenkorn, used to promote the recent L.A. Louver show of his works on paper, is peculiar in its emphasis on the distance between the camera and its subject . . .

It seems to have been forgotten, in recent years, that the basic relationship of the artist to the world in modernity is one of estrangement.

C. Philip Mills reviews Skinamarink

Genese Grill reviews Henry van de Velde: Selected Essays, 1889–1914.

Patrick James Dunagan reviews Ted Berrigan’s Collected Prose.

“The betrayal of artists by society, their commitment to achieve through their efforts historical feats of the imagination and the myriad ways in which these are undermined, represents the real content of the film.”

Harris Wheless reviews Damion Searls’ new translation of André Gide’s “Marshlands.”

Suzy V reviews Yesiyu Zhao's show "Journey to the West” at David Castillo Gallery in Miami.

Del O’Brien reviews Gala Porras-Kim's show "Correspondences towards the living object” at the Contemporary Art Museum St. Louis

Gabriel Almeida reviews Salman Toor's show "No Ordinary Love" at the Baltimore Museum of Art.

Kevin O’Rourke reviews the album Sons Of by Sam Prekop and John McEntire.

What is contra natura is the dysfunctional rapport that human beings seem to have developed with this cosmic ladder, and that may very well be the source of what’s abusive in the power – whether cosmic, natural, or human.

Is interactivity really the same freedom that art is supposed to help us access?

Charles Ray is unquestionably one of the most powerful and challenging sculptors alive. His recent works presented at the Met carry within them a subtle and expansive understanding of space, a boundless wit and delicacy, and a deep sense of history.

After Effect — James Turrell’s latest “Wedgework” (recently presented by Pace) — takes up this question of the imaginary dimensions of time and space and their relationship to perception, memory, and thought.

The potential of this kind of work lies in its ability to pervert reality. This is not to say distort reality, to make it into a “cruel illusion,” but transform it: to manipulate and reconfigure reality according to one’s impulses and for its own sake.