With tchotchke kitsch, jokey cartoons, and slapstick video, a satirist artist toys with ideas of belonging and success in the world’s oldest public art collection.

Dozens of grotesque acrylics and exacting study drawings fashion the US pop-culture iconographer Jim Shaw as a formidable portraitist of power.

What’s wrong with fairs? With criticism? With all this money? What’s next for painting? NFTs? Doing it live? And is it politics or criticism that’s more totally broken?

Fresh off a retrospective at Centre d’Art Contemporain Genève, Benedict searches aloud for a in trying to prove the hard materiality of time.