Suffering From Realness

Sahar Khraibani offers a powerful meditation on the film “HyperNormalisation” from Adam Curtis

Truth to Biases: Shahidul Alam at the Rubin Museum

Sumeja Tulic reviews “Shahidul Alam: Truth to Power” at the Rubin Museum

On Being “Wrong”: An Ode to John Baldessari

Angella d’Avignon writes an ode to John Baldessari and his impact on her art world

Irena Haiduk: REMASTER at the Swiss Institute

Lauren Palmer experiences the visual equivalent of a literary masterwork in Irena Haiduk’s “REMASTER”

Dispatch from Thailand: Araya Rasdjarmrearnsook in conversation with David Willis

Dispatch from Thailand: David Willis interviews artist Araya Rasdjarmrearnsook

Every Here Is An Elsewhere

Sahar Khraibani collects impressions in response to the public photographic work of Farah Al Qasimi

Barbara Loden’s “Wanda” and the Invisibility of the Working Class

Cynthia Cruz writes about the plight of the working class in Barbara Loden’s film, “Wanda”

Fallback Friday: Meleko Mokgosi: Democratic Intuition

Degree Critical looks back at Hakim Bishara’s review of “Meleko Mokgosi: Democratic Intuition” at Jack Shainman

After Manet: The Wife, the Fish, and the Philosopher

Cigdem Asatekin explores the life of Edouard Manet’s most important model, his wife

Fallback Friday: Shake It Off: Approaches to Placemaking in the 21st Century

Degree Critical revisits Lauren Palmer’s review of “Life to come” at Metro Pictures

“Manifesto” at the Hirshhorn Museum and Sculpture Garden

Sahar Khraibani considers the role of manifestos in art history in her review of “Manifesto” at the Hirshhorn Museum and Sculpture Garden

From Afar, A War

Sumeja Tulic considers the traces of war in MoMA PS1’s “Theater of Operations: The Gulf Wars 1991-2011”