Of all the senses, touch is the biggest taboo in a museum. Glass cases, stanchions, and signs pepper the galleries to remind us not to touch the art, in order to protect it. But what if allowing touch ...

“It’s like a fellow I once knew in El Paso. One day, he just took all his clothes off and jumped in a mess of cactus. I asked him that same question, ‘Why?’ He said, ‘It seemed to be a good idea at ...

An homage in three acts: Louise Lawler shares a postcard, Christopher Williams remembers Baldessari’s studio, and Stephen Prina sings one of the great Conceptualist’s paintings. Christopher Williams, ...

Louise Lawler’s work looks at the lives of artworks in museums, private collections, gallery backrooms, storage spaces, and auction houses, examining how meaning changes with different types of ...

What does the term “ blockchain ” mean to you, and could you ever imagine it being a part of how you engage with art? Guided by artists working at the cutting edge of technology, and enabled by its ...

Josh Siegel: Stéphane, perhaps we could begin by discussing your father’s biography, specifically, his film Afrique sur Seine, and the larger social and political context in which Vieyra worked. How, ...

“Everything we see hides another thing, we always want to see what is hidden by what we see. There is an interest in that which is hidden and which the visible does not show us. This interest can take ...

Dorothea Lange and Paul Taylor's landmark photobook An American Exodus: A Record of Human Erosion weaves together text drawn from field notes, folk song lyrics, newspaper excerpts, sociological ...

In March, Neri Oxman: Material Ecology opened at MoMA. The installation is organized around seven projects, each represented by several artifacts, prototypes, and videos displaying the process. Each ...

Susan Rothenberg has left an indelible mark on the art world and on MoMA’s collection. Her work has been admired by multiple generations of curators and supporters. As a result, the Museum’s holdings ...

In this interview from 2013, the artist discusses his work and the beginnings of the Beirut-based photography archive.

The reunion of Pettibon’s own text—which is often missing or covered over on Black Flag materials—with his drawings reveals the enigmatic, haunting quality of his work, something far more compelling ...