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6 days ago | 
artreview.com | Jenny Wu
From the rise of ‘red-chip’ artists to exhibitions of underground comics, the values of the traditional artworld are being challenged and reshaped In early April, I caught the tail end of Doki Doki Tutu’s Delivery Service!! at Tutu Gallery, an apartment gallery in Bed-Stuy. The work that drew me into the two-person show was Brooklyn-based artist Amos Kang’s 3D-printed sculpture Bella Boo (2024), a cockroach the size of a small dog with the head of a cartoon girl, dark brown hair and red irises.
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1 week ago | 
artreview.com | Jenny Wu
The latest edition in Coachella Valley frames its largescale artistic commissions as social and emotional ‘service stations’A sonorous voice, issuing from an audio player that forms part of Alison Saar’s Soul Service Station (all works 2025), her contribution to the biennial Desert X, recites a poem about overcoming road rage, desperation and anxiety. “Feeling down?” the voice intones over soothing instrumentals. “Time to feel up.
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1 week ago | 
artreview.com | Nirmala Devi |Jenny Wu |Louise Benson
Our editors on the exhibitions they’re looking forward to this month, from the Venice Architecture Biennale to Gallery Weekends in Berlin and Beijing19th Venice Biennale of Architecture: Intelligens. Natural. Artificial.
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1 month ago | 
artreview.com | Jenny Wu
With their semi-covert political messaging, could Anne Imhof’s DOOM and Alex Tatarksy’s Sad Boys act as a blueprint for future activist art? For three hours a night, for over a week in early March, German multidisciplinary artist Anne Imhof made valiant attempts, as part of her latest gesamtkunstwerk, DOOM: House of Hope (2025), to mould the atmosphere of the Park Avenue Armory’s Wade Thompson Drill Hall as her material.
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1 month ago | 
artreview.com | Jenny Wu
A group exhibition across two venues in New York explores news coverage of the ‘War on Terror’, and its psychological impact on a whole generationDuring the early 2000s, news networks began covering wars and conflicts at an unprecedented scale, with many airing graphic images from combat zones around the clock. SCREEN MEMORIES explores the psychological impact this media environment had on those growing up in the Middle East during that decade.
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1 month ago | 
artreview.com | Jenny Wu |Louise Benson |Yuwen Jiang
Our editors on the exhibitions they’re looking forward to this month, from Olivia Erlanger and Phuong Ngo to the expansion of São Paulo’s MASP Olivia Erlanger: Spinoff Luhring Augustine, New York, through 19 April The New York-based artist Olivia Erlanger has spent a decade sifting through the spatial imaginary of America’s suburban middle class, scrutinising unsung architectural typologies such as garages – the subject of a research project she undertook with architect Luis Ortega Govela in...
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2 months ago | 
artreview.com | Jenny Wu
Why faulty first impressions only tell half the story, and the beauty of never quite making up your mindI disliked Boris Mikhailov’s exhibition at Marian Goodman on my first visit to the gallery’s new Tribeca location, where I watched two of the Ukrainian photographer’s videos on the first floor.
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2 months ago | 
artforum.com | Jenny WuPlus icon |Jenny Wu
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Feb 12, 2025 | 
artreview.com | Jenny Wu
At MoMA PS1, Hura explores the mother – or at least, his own – as a metaphor for social, political and economic safeguards Someone with rail-thin calves and bony ankles is wearing flip-flops in the snow. This seemingly undernourished photographic subject in unseasonable footwear, seen only from their knees down, stands out among the two dozen or so inkjet prints from Sohrab Hura’s Snow series (2015–) displayed in the main room of this survey of the artist’s two-decade career.
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Feb 4, 2025 | 
artreview.com | Jenny Wu
How the recent tendency for ambiguous self-reflexivity is redrawing the lines of institutional critiqueEven for those not directly affected by the recent fires, whether those that spread widely across Los Angeles or the blaze in Tribeca, Manhattan, which damaged two of the neighbourhood’s galleries, it may feel like an indulgence to complain about hackneyed exposés and interventions in New York’s art scene.
