Kara Walker’s silhouettes don’t just broach America’s touchiest subject—they detonate it.

The late Steven Parrino was bent on destroying painting in order to save it.

Why you should give a crap about Chris Ofili’s new paintings.

Or is the hype about the hype keeping us from seeing the real picture? The collateral benefits of this loopy, vulgar, and altogether overheated New York art moment.

Hiring a new director for the Guggenheim will be tricky.

The museum’s next director, whoever he or she is, has to do one thing first: Dump Thomas Krens.

MoMA relives painting’s postwar near-death experience.

Remembering Elizabeth Murray.

The European megashows, under the glitz, are all about the power of the unexpected mix.

Biennials are boring and bloated—yet we trudge from one to the next. There must be a better way to see art.