- 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.