Today, there is really no urgency to reflect on Jon McNaughton’s body of work. Adam Lehrer’s recent article in Compact, “The Limits of MAGA Art,'' stakes this out clearly. There is much less danger to endorsing McNaughton in the midst of a failing Biden presidency than there was at the height of anti-Trump hysteria . . . Why address it at all then?

In his writings on cultural objects, Adorno self-consciously employed a prismatic and monadological method. The idea was to approach each cultural object as a monad, as a self-contained entity that, if viewed properly, could prismatically illuminate the character of the social totality. This essay seeks to apply a similar method to a work by Donald Judd: Untitled (1967).

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 . . .

This conversation of Alix Le Méléder with historian Nina Léger and philosopher Jean Daniélou originally took place at the artist’s home in Burgundy in the summer of 2015, four years after she had resolved to cease her activities as a painter.

Gilberto Perez’s commentary on history as seen through the lens of the filmmaker duo Straub-Huillet.

Jonathan Galassi and Robyn Creswell discuss editing the FSG Poetry Anthology with Austin Carder and Aaron Fagan.

For moderns, art is the appearance of suffering from the unrealized potential of freedom, i.e., the appearance of freedom’s task.

“From the artist’s perspective, it's the case that all art has to be a reconsideration of art history. Every artwork, in order to find its originality, has to reconsider all of art history.”