Lydia Pyne

The exhibition combines ten of Frankenthaler’s prints (and six of her proofs) with several other artists’ works from the 20th and 21st centuries.

Architectural designer Thomas Rinaldi found exploring historical patents to be a way of unpacking how innovation follows certain trends and design impetuses over time.

Dan Hicks offers a passionate, unflinching critique of how the continued presence of the Benin Bronzes in British museums and national collections perpetuates the colonial violence that “acquired” them in the first place.

The exhibition is comprised of two parallel bodies of work: Joseph’s well-known works on paper, and his newer exploration of sculptural wall reliefs.

Sanders' new book walks readers through how print is created, and how every historically new technique depends on its precedents.

Works from a diverse set of artists in the United States, Latin America, and Brazil showcase the many ways that artists in the mid-20th-century Americas experimented with light, color, and materiality.  

This is a book about the hidden, captivating, complex lives of portrait sitters and how history has — or has not — remembered them.

I remember when Nicole Tersigni’s thread of portraiture-based mansplaining memes started popping up in my Twitter feed last year. I laughed until I cried.  

Not only does our constant upgrading fundamentally impact our perception and experience of time, but it shapes how we document and share ourselves as well as our legacies.  

Mushrooms — especially in conjunction with Cage’s life, compositions, and approach to music theory — are full of metaphor. 

Latin American voices became the epicenters for powerful, far-reaching intellectual projects in the mid- to late-1920s, like the Peruvian magazine Amauta.

Drawing from the Morgan Library & Museum’s stunning collection, Medieval Monsters examines the monstrous through three specific themes: terrors, aliens, and wonders.