More than 30 years after the artist’s death, a wonderful Robert Smithson folly bobs up at Manhattan’s edge.

The Guggenheim’s Mapplethorpe exhibit places the artist in a Mannerist frame.

The Matisse and Cézanne shows prove that smart curators can refresh even the most overexposed artists.

The Whitney brings a little of Robert Smithson’s outward-looking art back into the white box.

Two ICP shows demonstrate that the earliest photographers were artists as well as technicians.

The enormous Lee Friedlander retrospective shows us America in all its garish glee.

A critic confesses: I hate Monet.

Gerhard Richter

After more than a century, Ingres still feels mysterious and modern.

Great works and surprising moments aside, part two of the Whitney's giant survey of twentieth-century American art feels like a freshman civ course.