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In New York, lavish acrylics, plush sculptures, and soft-skinned poems by Jonathan Lyndon Chase re-style Artists Space as a neighborhood barbershop and the barber as a consummate artist.

Turning a corporate office into a crime scene, the new sculptures and Polaroid throwbacks of Cady Noland’s installation at Gagosian, New York zero in her inquest into star-spangled paranoia.

With slap-in-the-face monuments, dances with buildings, and a water-gunning boy’s choir, steirischer herbst ’23 unearths Graz’s anti-fascist micro-histories while troubling the distinctions of oppressor and oppressed.

In his latest painting exhibition at David Zwirner, Paris, Josh Smith’s expressive ambivalence gives way to a lyrical defiguration of sameness, as the self holds on tight through the world’s psychoses.

Spread over a wooded coastal island, the second Helsinki Biennial posits flora and soil as more potent agents of politics than language-based art activists.

At Lenbachhaus, Munich, Charlotte Salomon’s monumental proto-graphic novel Leben? Oder Theater? chronicles the comic minutiae and sweeping tragedies of its author’s too-short life.

An exhibition at WIELS, Brussels, discloses that Marc Camille Chaimowicz’s perpetual-sunset sentimentality is no longer a provocation, but a favorite hue in the mood ring of pop.

Who’s having a moment? Which XXL install flopped? Was climate always a window dressing? And is Art Basel really still the main draw? Kito Nedo shares the cracker jacks at Art World’s biggest circus.

A blockbuster survey at MoMA, New York, lauds video art as a democratic counter to hegemonic power. But with AI usurping its witness function with endless content invention, is “Signals” actually the medium’s post-mortem?

While its staging of 300+ works by Rosemarie Trockel is unparalleled in its comprehensiveness, a retrospective at MMK, Frankfurt fails to contextualize Germany’s best-known woman artist.

From wood-grain negatives and make-believe tchotchkes to Wuhan punks and haunted islands, Ophelia Lai highlights the 7 best exhibitions in the Chinese capital.

The melancholy muse, glitchy machinimas, and plenty of Super 8: The 69th Oberhausen Short Film Festival mined the space between arthouse and art world for new and archival gems.

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.

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.

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.

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.

5☆ is back! Maximilian Geymüller drops by Croy Nielsen, Vienna to see Sandra Mujinga’s follow-up to her Preis-der-Nationalgalerie exhibition.

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.

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

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