Featured
A trove of contact sheets reveals Peter Hujar’s working method, restless eye, and the breadth of an underseen archive.
“Move Over, Mona Lisa” maps the “inequality pipeline” linking museums, publishing, and academia—and challenges the systems that shape what the world sees and reads.
The collection assembles moments of doubt, humor, and revelation into a resonant poetic experience.
Constantine Manos’s bicentennial-era photographs capture a city divided, resilient, and still recognizable half a century later.
Our expert critics supply a guide to film, visual art, theater, author readings, television, and music. More offerings will be added as they come in.
This documentary about poet Mary Oliver is a moving study of solitude, partnership, and the stubborn power of wonder.
The “Legally Blonde” prequel “Elle” spotlights a charming Lexi Minetree, but struggles to justify its place in the Blonde-verse.
A sensor-driven dance work probes embodiment, data, and the limits of technological intimacy.
The Tribeca Film Festival is usually best represented by its outliers. This year, a few films earned that status.
Arts Commentary: Trump’s War on the Kennedy Center Is a War on Culture Itself