It’s easy to dismiss William Wegman as “oh, that dog guy.” So why do we keep looking?

Another Whitney Biennial that was supposed to break the mold turns into a solid, stolid survey.

As old age consumed Goya, his art grew purer and ever more closely observed.

A retrospective at MoMA proves that Edvard Munch was more about muffling emotion than about letting loose.

Every two years comes the critical sniping: “deplorable,” “childish,” “occasionally repulsive.” Have the curators of this year’s Whitney Biennial finally figured out how to make the show matter?

Why is the art world so drawn to William Kentridge? Because he’s the rarest of political artists: a subtle, funny one.

The Guggenheim figures out how to evoke the graceful sculptural groupings that David Smith favored.

Is the Neue Galerie’s new Klimt worth all that gold?

Moma, the Met, the Whitney, and the rest of the art world joined an expansionist arms race.

How the Dutch Abstract Expressionist helped redefine New York cool.