NEW YORK New Museum Osorio’s politically engaged trompe-l’oeil environments hit the nail squarely on the head. They remind us of the importance of things as vessels for memories, sentiments, and ideals.
Lindsey Mendick
EDINBURGH Jupiter Artland Private nightmares become public in this communal space. It’s not a divine comedy, but a very human one, freed from judgment, a morality nightmare upended.
“This Is Out of Hand”
PORTLAND, MAINE Institute of Contemporary Art at Maine College of Art & Design One particular resonance of carving, which is especially evident in Nash’s project, is that it parallels geologic processes like erosion, by wind and water, on both vast and near-instant timescales.
Bachrun LoMele
EUREKA, CALIFORNIA Morris Graves Museum of Art Burn Pile might function like a compass, redirecting our perception of truth to a sector located elsewhere, where logic does not apply.
Jasleen Kaur
GLASGOW Tramway As the exhibition title “Alter Altar” suggests, this is a place of fluidity, of ideas and events, of religious ritual alongside the unpredictability of everyday life.
William Edmondson and Brendan Fernandes
PHILADELPHIA Barnes Foundation Brendan Fernandes’s Returning to Before, commissioned by the Barnes Foundation in response to the exhibition “William Edmondson: A Monumental Vision,” proposes that gesture can reach back through time and connect us with the past.
Pipilotti Rist
HOUSTON Museum of Fine Arts Unlike much video art, which (for me, anyway) remains prohibitively esoteric, Rist’s work keeps accruing mainstream accessibility; in 2016, Beyoncé famously channeled the whimsical, eight-minute Ever is Over All (1997) in her music video Hold Up.
Abigail Lane
SAXMUNDHAM, U.K. The Art Station Hanging inside a cupboard, a wool sweater proclaims “Escape Artist.” A statement of intent or of being?
