Visual Arts
In this exhibit, curator Robin Hauck celebrates ten Boston-area artists who resist the relentless distractions that contemporary life imposes on all of us.
This exhibit is a fair reflection of the museum’s desire to spotlight work by artists who have traditionally been neglected by the museum world.
The “Look” of the 2026 Games succeeds at what should be its elemental function — the connection of beauty, athleticism, celebration, and memory.
Yun Ko-eun’s novel is a good, entertaining read that proceeds by a kind of literary Zeno’s Paradox: forever on the verge of some Big Revelation or vague Deeper Meaning without ever actually reaching them.
Although the work seems timeless, its modernity reflects a culture that reveres its age-old traditions and preserves them over many generations.
Viewing John Singer Sargent and his art through the lens of identity studies and LGBTQ history supplies new insights into claims about his homosexuality.
The intent was to create a winter display that had no religious message but that would illuminate The Mount at this darkest time of year, that would call attention to its wintry beauty.
It’s as if the curators of this BPL exhibit are warning us that the future of our democracy depends on our paying attention.
As an artist, Allan Crite was always observing, drawing, and thinking about his Boston—the buildings, streets, parks, and playgrounds of Lower Roxbury and the South End.
Visual Art Commentary: Silence Is Complicity — Why Museums Must Use Their Voice to Defend Democracy
At a moment when arts and culture, public education, historical memory, and American democracy itself are under coordinated attack, silence is not a neutral posture. It is a decision with consequences.
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