Visual Arts
At 90, Boston’s ICA revisits nine decades of boundary-pushing art, institutional reinvention, and a willingness to take risks.
In her haunting installation “Cemetery of the Nameless,” Pınar Öğrenci contemplates displacement, anonymous deaths, and the cruelties that recur across borders and centuries.
Three international artists add new granite works to the New Hampshire sculpture park, continuing a tradition of creative freedom, community support, and art in the landscape.
At New York’s Art Students League, Robert Cenedella’s grotesque group portrait turns the MAGA elite into a gathering of horned grotesques.
An incisive exhibition traces how Rembrandt, his Dutch contemporaries, and earlier artists remade a biblical story of concealment, power, and survival.
The Cape Ann Museum’s revelatory exhibition shows how Milton Avery, Adolph Gottlieb, and Mark Rothko turned the Gloucester shore into a language of abstraction.
In a revised study of the celebrated sixteenth-century painter, Michael W. Cole traces how family support, artistic training, and scholarly revision shaped her legacy.
The MFA exhibition brings viewers close to the remarkable printed books in which Spanish modernists and French writers fused art and literature.
In “the drop falls” at 3S Artspace, the artist’s lush hybrid paintings bring Virginia Woolf, artificial intelligence, and ecological collapse into a seductive, disquieting flow.
Arts Commentary: Superman, Spider-Man, and the American Art of Slugging Nazis
William Nicholas Love’s punch heard round the internet belongs to a long comic-book history of fighting homegrown fascism—from Captain America to “The Clan of the Fiery Cross.”
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