#75 The Museum Issue

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#75 The Museum Issue

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Vunkwan Tam: The Last Laugh

In his debut show at Empty Gallery in Hong Kong, Vunkwan Tam turns doe urine into a metaphor for dramatized emotional wallowing.

The Many Lives

New video works at Palais Populaire starring LuYang’s hyperreal, reincarnating avatar spell out their street-styled vision of mortal, spiritual, and virtual realms.

Post-anthro Dust-ups

At Galli’s latest show with Kraupa-Tuskany Zeidler, Martin Herbert discerns a shift in the painter’s understanding of the body, from a site of conflict to a grounds for empathy.

The Magic of Barely Noticeable Breaks

At the Ludwig Forum Aachen, Kerstin Brätsch’s colored-pencil drawings call on the goddess Inanna to complicate our hierarchies of interpretation.

Getting Even

At Kestner Gesellschaft’s retrospective of Paula Rego, Kristian Vistrup Madsen eulogizes her unmasking of how women suffer and prevail through suffering.

High Plains Drifter

At Galerie Eva Presenhuber in Vienna, Sam Falls sows photographic exposures with plant and soil matter in lurid depictions of growth and decay.

Organization vs. Institution

MoMA looks back on the New York gallery Just Above Midtown (1974–86), a hub for Black abstract and conceptual artists long omitted from the canon.

Fortunate Fall

At Fondation Louis Vuitton, Barry Schwabsky asks if a side-by-side look at Claude Monet and Joan Mitchell does not incidentally reveal how little their work had in common.

Breaks Down into Many Times

The third exhibition in a research series on Greco-Roman antiquities at Fondazione Prada, Milan, uncovers the tears, sutures, and grafts of capital-H History.

be still my heart

Stephanie LaCava hovers over streams of online girlhood, scanning for the highly charged tropes and the transient beauty of the jeune fille 2.0.

Zagreb Surrogate

Tea Hacic-Vlahovic takes in 50 years of Sanja Iveković’s irreverent polymathy at Kunsthalle Wien, from fake-masturbating above Tito’s motorcade to publishing her mother’s poems.

Remix as Revitalization

A group exhibtition at mumok, Vienna invited artists to pair their work with objects from the museum collection, briefly reversing the flows of power at the heart of modernism.

Every Day the Everyday

A video-first retrospective at Haus am Waldsee, Berlin, is charged with ninety-year-old Margaret Raspé’s untiring anger at the separation between art-making and domestic femininity.

Flesh of My Flesh

In Jes Fan’s glass-and-resin sculptures at Empty Gallery, Hong Kong, a local pearl oyster embodies the island’s long-running struggle against the conspiracies of empire.

The Hermit of Domgasse

At Galerie nächst St. Stephan, Vienna, Manfred Pernice is sculpting with a new name but a familiar hardware reptoire, heaping up double entendres from scraps during a new war in Europe.

Bases of Distrust

A group show at gta Exhibitions, Zurich calls into question local worlds left unbuilt, the worthiness of certain gifts, and museums’ credibility as storytellers of the cultures they serve.

Sorrows and Delights

An exhibition of Xiyadie’s steamy papercuts at The Drawing Center, New York narrates his four-decade usurpation of a traditionalist folk form and a coming-out transition from shame to bliss.

At the Cost of Ambiguity

The largest-ever retrospective of a living artist at New Museum, New York charts Wangechi Mutu’s turn from the material resonance of found-object collages to the easy symbolic iterations of bronze sculpture.

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