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).

On the occasion of her first solo show with Make Room gallery, “A Tangle of Limbs and Long Hair,” Caesura editor Patrick Zapien conducted a brief interview with artist Shana Hoehn. A selection of work from the show follows.

Visiting the Noguchi Museum recently, I was struck by the difficulty of sculpture as art: how it's constrained by its physical presence to a degree that other media, like music, painting, and poetry, are not.

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.

Michel Leiris’s 1929 essay on the sculptor Alberto Giacometti, translated by Rainer Hanshe.