“This, ultimately, is what makes the show seem so revolutionary... this is art that makes the viewer look, and more importantly, makes the viewer feel." —David Freedlander

"There was much else going on in Oxford philosophizing, despite all the “meanings” analytical philosophers hoped to extract from “thought.”—Josef Chytry

“Ruscha’s body of work captures something quintessential about the American experience that is almost as intangible as electricity itself" —Marius Sosnowski

"Acetone's songs evoke slow breathing, gentle ocean waves, soft late-afternoon light, a California summer day running at quarter-speed."—Emmerich Anklam

"By accentuating these often painful histories, the exhibit further legitimized the emotional landscape as a relevant form of social dialogue"—Zara Kand

"André 3000 has long understood the importance of presentation, of style, of toying with signifiers and recycling them for his own ends."—Jeff Hewitt

"Mailer repelled reductive, singular definitions and it’s his extravagance of spirit that is clearly the film’s guiding light."—Marius Sosnowski

"Warhol's works have an uncanny ability to project the viewer, and their preconceptions about the West, back at themselves."—Jacqui Devanay

"Mariachi Los Camperos’s latest release on Folkways Records, Sones de Mariachi, is an album of strength and uninhibited voice."—Adolfo Alzuphar

"'TINM' is full of scenes where everyday life and indiscriminate violence exist side by side until they... flip some unfortunate soul’s life upside-down."—Colm McKenna

"There’s something reverent, even religious, about all these layers. The screen’s protector—its image—is elevated to the status of artwork."—Sky O'Brien

"Art for the People showcases a unique period in American art history... seemingly impossible to imagine today."—Julian Harake

"There’s even an argument to be made that Van Gogh effectively ended painting’s landscape genre with these last works"—Jamie Aylward

"The best books about scientists working together also offer portraits of brilliant individuals in great depth."—Emmerich Anklam

"This latest presentation of Butterworth’s distinctive and sometimes daunting works has bolstered an already formidable underground reputation."—Zara Kand

“A recent exhibition in Paris focuses on the 1930s when the painter’s output reached new peaks"—Jamie Aylward

“In this liminal state between self-hatred and misanthropy, Nakamatsu is left without anyone to turn to, and can only look upon himself with shame"

"Palo Alto.... should be a clarifying read for anyone who is affiliated with tech but feels vaguely uneasy about its effects on society." —Emmerich Anklam

“Wang’s feminine characters take on the guise of warriors with metal swords as an empowering symbol... to challenge the status quo." —Xixi Wang

“Steinberg’s line is full of gaps, and, therefore, invites the finest bliss."—Sky O'Brien on Joe Milutis on Roland Barthes on Saul Steinberg

"'Joan Didion: What She Means,' curated by New Yorker theater critic Hilton Als... is a striking survey of the many nouns that make up a moment in time"

"Gies’s solution is to develop a more harmonious relationship with water and begin seeing this powerful force as a friend instead of foe."

“The Polish master’s Berkeley period is surveyed as one man’s battle to translate struggle into wisdom, despair into perseverance."—Marius Sosnowski

"There’s no such thing as postwar. War is the mother of the modern state... haunting the present like an after-hours ghost." —Sky O'Brien

"...Perl and Lefebvre’s writing ultimately bears directly on an aspect of the discourse that can get lost in the din: the art itself."

“Today, this overwhelming exhibit still begs the question—what was in the air back then? Maybe trauma, debauchery, or nihilism?"—Jamie Aylward

Chantal Akerman, From the Other Side, an "exhibition as absorbing as seeing the original films on the big screen"—Jamie Aylward

"In the future, everyone will be politically correct, climate-conscious vegans. And everyone will like it."

"What's impressive is that while interpreting film after film of droptop convertible wisdom—or ruin, LaSalle doesn’t play loose and easy with his task."

“First and foremost then, one must return to the question already posed: What did the composer himself want?"

"From characters wrestling with legacies of Khmer Buddhism to the Communist regime to West Coast technologism, nothing was safe from his sardonic wit..."

"The first few frames of Wes Anderson’s new film, The French Dispatch, show an unpeopled printing plant in action..."

“The Academy Museum has the potential to be a beacon for the artform—if it can just own its place in the culture." —Marius Sosnowski

“An exhibition of recent works by 32 Los Angeles-based artists, designers, architects, and creative practitioners...inspired by Neutra VDL's numerous structures."—Zara Kand

"Cherkovski, a warm and reassuring presence on the page, recounts the works and days of the old 'lowlife laureate' with intimate detail and the respect of a close friend."

Daisy Silver heads to San Marino's Huntington Museum and Gardens to check out LA's Biennial, Made in L.A.:A Version.

"I was completely alone standing out front, waiting to be admitted to the San Francisco Art Institute for their 150th anniversary exhibition featuring the work of 'disruptive' alumni, faculty, and staff."

“With installations spread across miles of the desert landscape, strategic selection is key." —Paris Cotz

“What Daub is referring to are those trimmings of pseudo-philosophy and intellectual posturing that tech industry mouthpieces use to pat themselves on the back." —Einam Livnat

The Decameron Project, new fiction commissioned by The New York Times Magazine, reviewed by Sky O’Brien.

Arts editor Paris Cotz visits the long-anticipated de Young Open for Bay Area artists.

Checking out two Los Angeles shows over the pandemic summer: Night Gallery's Majeure Force and Blum + Poe's 5,471 miles.