With “Scratching the Back,” the artist creates the most colorful and unsettling Facade Commission yet, chipping away at the gray stones of the museum.
The sculptor of sublimely coiled wire helped erase boundaries between art, craft and the decorative arts. A long-awaited show of drawings at the Whitney explores her luminous connections.
Martin Puryear’s newest and most complex work, “Lookout,” draws on the ancient method of Nubian vaulting, and the artist’s own history.
In his first show of new work in over a decade, he has been occupied with a single subject: a portrait of a woman, in which he finds endless variation and human emotion.
The “Time Pyramid” is being assembled slowly by the residents of a German town, who can scarcely imagine the world in which the artwork will be completed.
A Dutch exhibition brings together items taken in colonial times, by Napoleon’s army and by the Nazis to argue there isn’t one solution to restitution.
“Olympia,” the brothel scene that birthed modern art, crosses the Atlantic for the first time in the Met exhibition “Manet/Degas.”
Manhattan prosecutors contend that the art in question belongs to the heirs of a collector who was a Holocaust victim.
Want to see new art in New York this weekend? Check out an exhibition at Mishkin Gallery that pays homage to Puerto Rican art. And at MoMA PS1, in Queens, two artists explore their Aymaran roots.
A court ordered Jens Haaning, who incorporates physical currency in his work, to give back about $70,000 after he sent the Kunsten Museum of Modern Art two blank canvases.