Rosemarie Castoro

LLANDUDNO, WALES Mostyn A line of aluminum tape runs across the floor, walls, and ceiling of the space, dividing it in two. Castoro began to make these spatially delimiting pieces after she created a similar line, or crack, to demarcate work and living space in her New York loft.

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Natalie Ball

NEW YORK Whitney Museum Upending conventional practice, Ball’s seemingly random, unrestrained arrangements and innovative techniques overlay materials and references to childhood and assimilation with Indigenous customs and rituals to present a doubled vision that resists and critiques dominant white culture.

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Object Lessons: Karon Davis

I come from a dance background. Both of my parents are dancers—I came out of the womb, and they were like, “Here are your tap shoes, here are your ballet shoes.” I had a show coming up in New York, and Curtain Call seemed like the perfect subject matter; it was where my heart was leading me.

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Satpreet Kahlon

BELLEVUE, WASHINGTON Bellevue Arts MuseumWith a muffled soundtrack of poetry and music running through the darkened space, Kahlon’s exhibition became a total experience, immersing the viewer in an unsettling, unstable place, a site of exodus and arrival, captured in random flashpoints.

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Sarah Lucas

LONDON Tate Britain Two monumental cast concrete marrows, Florian and Kevin (both 2013), greet visitors at the entrance to Tate Britain. These blatantly phallic forms are a fitting precursor to “Happy Gas,” an exuberant, if irreverent, survey of Sarah Lucas’s practice over four decades.

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