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3 weeks ago | 
artreview.com | Jenny Wu
An exhibition made in the afterimage of Bernadette Corporation adopts ‘sloppiness’ as a brazen curatorial strategy that fails to coalesceAfter Frieze Week I had no desire to leave my apartment, so I read a couple of novels in bed.
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1 month ago | 
artreview.com | Jenny Wu
Ecclesia (The Meeting of Inheritance and Horizons) (2024) is at once spiritual and secular, a mélange of carefully constructed illusionsApart from the Jersey City-based artist’s career-defining 2018 portrait of former first lady Michelle Obama, most of the four dozen single-panel paintings in Amy Sherald’s midcareer survey American Sublime capture fleeting moments in the daily life of everyday Black Americans.
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1 month 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 month 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 month 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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2 months 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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2 months 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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2 months 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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Mar 5, 2025 | 
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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Mar 1, 2025 | 
artforum.com | Jenny WuPlus icon |Jenny Wu
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