“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.”

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

“You see this truculent character here, with the curly hair and mustache?” Picasso asked about the Vollard Suite, “That’s Rembrandt. Or maybe it’s Balzac; I’m not sure. It’s a compromise, I suppose. It doesn’t really matter. They’re only two of the people to haunt me. Every human being is a whole colony.”

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.

The space of Herrera’s paintings is not the real space we “inhabit” in the gallery or otherwise, but rather the illusory world of images and vision. Hers is the dream ground which, for over hundreds of years, artists have used to tell us stories, to perpetuate the likeness of people and landscapes, or reflect their feelings and visions materialized in objects.

From within Varela’s rough text, Lara extracts unexpected threads of forms, unarticulated rhythms and figures of speech that keep the metaphors together and yet, by the same token, undermine and fulfill Varela’s austere treatment.

Conceptualist art is making a last desperate attempt to escape from the jurisdiction of taste by plumbing remoter and remoter depths of subart — as though taste might not be able to follow that far down. And also as though boredom did not constitute an aesthetic judgment.

Jafa’s omnipotent sun of tradition is there to remind us that what is considered freedom now is merely the allowance we are given to be a controlled emanation of society as it exists.

Others who still wish to rejoice —those who could not live without their share of happiness — gathered in a small cult of beauty.

Utility fosters distrust in those who wish to use the aesthetic for their own purposes. 

The careless irony gives away the suffering narration involves in a world where it is no longer possible to tell stories.