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Mark Stevens

March 27, 2006 | The Art Review
Radical Meek

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

March 13, 2006 | The Art Review
No Surrender

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

March 6, 2006 | The Art Review
Silent Scream

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

February 27, 2006 | Feature
The Biennial Question

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?

February 20, 2006
Moral Minority

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

February 13, 2006 | The Art Review
Mr. Smith Goes to New York

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

December 26, 2005 | Art Review
Collage Education

Rauschenberg’s Combines, now at the Met, are rich and dense in a way that has to be seen to be believed.

December 19, 2005 | Culture Awards

In 2005, the bubble didn’t burst, and the Chelsea gallery scene kept expanding—while heavies like Matthew Marks and Damien Hirst called attention to themselves (yet again). The Met reestablished its stellar reputation. Digital art took a small step forward. Oh, and someone put a bunch of saffron fabric in the park.

December 5, 2005 | Art Review
Insider Outsiders

Two shows remind us why museums need to look beyond their marquee names.

November 21, 2005 | Art Review
Deadpan Alley

Sure, Richard Tuttle’s work is art about art. But it also makes you want to keep looking.

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