Hito Steyerl: Drill at Park Avenue Armory

Jessica Holmes reviews “Hito Steyerl: Drill” at Park Avenue Armory

Dispatch from Istanbul: Replica of the Original, or, The Carpenter’s Workbench

Cigdem Asatekin reviews “Replica of the Original” on view at SALT Beyoğlu in Istanbul

Fallback Friday: Casting JonBenét

Degree Critical revisits Will Fenstermaker’s (Class of 2016) consideration of spectatorship and power in “Casting JonBenét”

Photography, Caravaggio & The Musicians

Yínka Elujoba writes about Caravaggio, Roy DeCarava, and the quality of light

Dispatch from Vietnam: Rồng Rắn Lên (Serpents’ Tails) at Galerie Quynh

David Willis reviews UuDam Tran Nguyen, “Rồng Rắn Lên (Serpents’ Tails)” at Galerie Quynh in Vietnam

being seen : captured action by peter campus

David C. Shuford reviews “peter campus : video ergo sum” at the Bronx Museum

An Active Infinity: Impressionism in the Age of Industry

Cigdem Asatekin reviews “Impressionism in the Age of Industry: Monet, Pissarro and more” at the Art Gallery of Ontario, in Toronto

The Restoring Force of Gravity: Lauren McKeon’s “Let go or be dragged”

Emma Drew reviews Lauren McKeon: Let go or be dragged

On Post-irony, Parafiction, and Other Distortions: Sahar Khraibani in Conversation with Hicham Faraj

Sahar Khraibani in conversation with artist Hicham Faraj

Home is Here and No Other Place

Lune Ames reviews “Siah Armajani: Follow This Line” at the Met Breuer

Nancy Holt at Dia:Chelsea

Angella d’Avignon writes about Nancy Holt at Dia:Chelsea

Fallback Friday: The Dark Side of Joy

Degree Critical remembers Alyssa Timin’s exploration of Llyn Foulkes exhibition, “Deliverance” at Kent Fine Art