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Mark Stevens

April 24, 2006 | The Art Review
Race and Gender on Fifth Avenue

Two shows—one of ancient art, one contemporary—prove that the Met knows its way around modern obsessions.

April 10, 2006 | Feature
MoMA in Middle Age

Critical opinion has jelled: The new Modern is too safe. Can it become more than just a museum again? Should it?

April 10, 2006 | The Art Review
What Does Africa Look Like?

A new photography show at ICP reminds us to reexamine the clichés of the Western eye.

April 3, 2006 | The Art Review
Puppy Love

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

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 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.

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