This is the first of two reflections Momus published on the occasion of Tehching Hsieh: Lifeworks 1978–1999, on view at Dia Beacon through 2027.

Aaron Morse’s tall heavens evoke Georgia O’Keeffe’s painting Sky Above Clouds IV (1965); the big-sky country of the American West; and the empyrean ...

Aaron Morse’s tall heavens evoke Georgia O’Keeffe’s painting Sky Above Clouds IV (1965); the big-sky country of the American West; and the empyrean orange,… ...

I got lost several times on my way to Casa Susanna, the exhibition I had set out to write about. It was a sticky Friday night in July—“date night” at the Metropolitan Museum of Art, as the Met ...

I saw Fratino’s work not only during my commute, but online and across social media, where it easily took up residence. Despite some later critical reservations of my own, it was nice and exciting to ...

Ursula Biemann has been challenging, and excavating, how knowledge is produced for thirty years now, but in the past decade she has turned her attention to the environment. Her fieldwork has ...

Pablo Picasso is so famous and so ubiquitous and so dead that he is easy not to think about at all. It’s as though his most renowned artworks are in the next gallery along with his clownish public ...

Shelly Mars has always been interested in what we should not talk about, and as a result, she has for the past forty years faced constant criticism and pushback. Nonetheless, the multifaceted ...

While I had followed their work for some time, I did not meet Catalina Ouyang until last fall, at a symposium at Stanford University called IMU UR2: Art, Aesthetics, and Asian America. We were ...

Pizandawatc / The One Who Listens / Celui qui écoute, a recent exhibition at the Art Museum at the University of Toronto (AMUT), draws its title from the traditional name of artist Caroline Monnet’s ...

The best way to fuck something up is to give it a body. A voice is killed when it is given a body. Whenever there’s a body around you see its faults. The question is, now, in an artworld and social ...

For the ancient Greeks, the division of time was represented by a separation of chronos from kairos. To symbolize durational or cyclical time, Greco-Roman mosaics personified chronos as a god turning ...