There's this push and pull between feeling unease and discomfort, the nature of the spaces, and why they feel uncomfortable. But there is also tenderness and warmth, people adapting to these spaces and finding ways to make them comfortable.
Dealers like artists with established sales records because it lowers their already considerable financial exposure. Renting a gallery space in Tribeca costs anywhere between $8,000-30,000 a month on top of staff, marketing, and daily operations. With that kind of overhead, very few business owners can afford to take on the financial risk of untested artists.
On Franklin Street in Brooklyn's Greenpoint neighborhood, one non-commercial gallery fosters 'a small, stubbornly human space for friction.' Friction—the ubiquitous buzzword that captures the simultaneous delight and discomfort of doing things the slow way—is at the heart of artists Pap Souleye Fall and Char Jeré's current show at Subtitled NYC. It also reflects the overall spirit of this little exhibition space and of a burgeoning movement to reject our culture of optimization in favor of a bumpier, more intimate, less alienating experience.
What began as a passion for collecting became a responsibility. She not only believes in the artistic genius of women, but she wants society in general to hold men and women artists in equal esteem-and to place the same monetary value on their work.
Stockholm-based Strawberry is launching its "self-driving" AI-powered browser in open beta after a year in closed testing. Strawberry is a browser with built-in AI agents that can surf, click, and perform real tasks on behalf of the user, even on login-protected sites. The idea is to make AI agents available to non-technical users such as salespeople, recruiters, and analysts, without them needing to be able to write advanced prompts or code.
Across large enterprises, AI is moving quickly from experimentation into daily work. That shift is forcing leaders to confront issues they can't delegate to technology: how performance is measured, how people are supported through change, and how values show up when machines start doing more of the work. Not every company is approaching those questions in the same way. Some organizations are responding by racing for efficiency.
Last fall, I bought a ton of marble scraps off a sculptor in Woodstock for like, $10 off Facebook. For sandwiches and cakes, crumbling asphalt parking lots are good. When I lived in Sunset Park, they demolished a building a couple blocks from my apartment, and there was a hole in the fence, so I'd go in there and find tons of cool shapes and textures of rubble.
Weeks in a relationship or life blur together. You remember birthdays and trips, but the quiet in‑between time mostly stays invisible. We track deadlines and appointments on digital calendars, but rarely see the whole arc of a shared life at once, the years you've already moved through and the ones still sitting empty ahead. There's something oddly powerful about seeing every week you have, and have had, laid out in one place on a wall.
Sand Art is a game by Kory Jordan and published by 25th Century Games for two to four players ages 10 and up. It takes about an hour to play, and has you collecting resources and then coloring in a bottle, making art in a bottle out of sand, in case the name didn't give away the plot. Gameplay Overview: Sand Art has you gathering and mixing sand, which is used to fill your bottle.
My value as a person is not reliant on me being nominated for anything or being snubbed. It's such a constructed reality. It's not a real competition. We made something months ago, and now we're putting it in a pot, and somebody's going to choose one.
LG Gallery+ is a new visual curation service for LG TVs - and a brilliant way to make your home more unique and personalized. It lets you express your ever-changing creativity with a massive library of classic art, digital and 3D artwork, scenery, games, and more. With more than 4,500 options to choose from, you can turn your LG TV into a world-class art gallery, a peaceful forest, or an homage to your favorite video game - all in the same day.
There is a moment at dusk when the boundary between sky and water dissolves. The sun hangs low, the tide softens, and the surface of the sea becomes a trembling mirror, holding light in fragments. Studio Haran's Sandscape Collection seems to trap that exact instant. These sculptural luminaires do not simply resemble waves. They resemble the reflection of something luminous hovering above them, as though the moon or sun has descended and dissolved into ripples.
According to H&M, the digital twins will initially appear in social media posts, clearly marked with watermarks to indicate their AI origin, in compliance with platform guidelines on Instagram and TikTok that require disclosure of AI-generated content.
AT FIRST GLANCE, the phrase "avant-garde advertising" might seem like a contradiction in terms: The avant-garde is assumed to be inherently anti-capitalist and the realm of advertising crassly commercial. But the involvement of avant-garde artists with advertising is in fact rich, complex, and long-standing, encompassing a full century of collaborations, critiques, and reworkings of all sorts. That entanglement-in all its diversity-is the topic
Printed in both color and black and white, images of dancers and friends took the form of abstract portraits, movement series, and pseudo-stop-motion, featuring local artists including Sophia Ahmed, Muffie Delgado-Connelly, Kenny Frechette, Takahuro Yamamoto, Emily Jones, Allie Hankins, performances by Lu Yim, and others. Layered, dark, and moody self-portraits of Krafcik from 2025 also plastered a dark-painted wall opposite some of the other images.
The project, titled 'From Desert Sand to Alpine Snow,' centers on twenty hand-knotted fiber panels first commissioned for the Tanweer Festival in 2025. Installed in a 10 by 10 meter steel frame rising six meters high, the work stood directly on desert ground, its saturated colors vibrating against the pale sand and rocky escarpments of Mleiha.
We tell ourselves stories in order to live. For more than 50 years, the French artist Sophie Calle has worked in the space between facts and their retelling, demonstrating how the narratives we share about ourselves are always partial, constructed. Working across photography, text, film and installation, she reveals how fantasy and projection intervene in our best attempts to see and be seen.
In the midst of the fabulous The Winter Show last weekwhere connoisseurship, collecting, and cultivated taste converge under one vaulted roofthere was a moment of pause, exhale, and recalibration at the heart of the fair: the VIP Collectors Lounge. This year, not as sponsorship, but as philosophy made spatial. It was titled The Modern Salon. Conceived and designed by frenchCALIFORNIA, The Modern Salon rejected the trade-fair instinct toward visual noise and brand fragmentation.
The Finnish coastal archipelago consists of over 80,000 islands. The islands began to emerge from the sea after the ice age, approximately 10,000 years ago. Their cliffs of mostly granite and gneiss have been polished smooth by the kilometers-tall ice sheet that had been pressing them down.
Monia Ben Hamouda's work weaves calligraphy, material transformation and ancestral memory into sculptures and installations that oscillate between language and form. In conversation, we traced the conceptual and sensory threads of her practice, unfolding through key works that reflect on heritage, embodiment and translation. Using materials such as iron, stone and pigment, her installations become sites where history is not only referenced but physically felt.
In 2024, I made a vow to never base my art criticism on wall labels. My decision came after reading reactions to that year's Whitney Biennial. "If every label in 'Even Better Than the Real Thing,' the 81st installment of the Whitney Biennial, were peeled off the walls and tossed into the Hudson, what would happen?" asked Jackson Arn in the New Yorker. (He went on to suggest that the overall show would have been much better.)
"We can't escape the language of the internet; it's now our emotional alphabet," Minginowicz says. "Sometimes a hashtag or emoji expresses more than an entire essay." "I don't intentionally insert trends into my paintings... but I also don't filter them out. I absorb the world, I scroll, observe, analyze. So yes, the internet seeps into my work, through color, gesture, distortion, glitches. Humor, or rather, bitter absurdity, emerges from that saturation."
For those who are in desperate need of stimulation, this zine delivers - its visual language is razor-sharp and packed with colour, each page feels like a porno magazine that has vomited everywhere. Hattie calls it a "frenetic deluge", a collection of themes that circle the drain of "online fatigue", a way to process an excessive amount of information in order to create meaning and seek comfort.
