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By KAREN ROSENBERG (NYT)
An Orwellian theme is handled deftly in an exhibition at the Austrian Cultural Forum, with works as nuanced and versatile as they are on-message.
By KEN JOHNSON (NYT)
For many middle-class Americans, too much is not enough. That is the subject of this amusing installation by Okay Mountain, a 10-person collective from Austin, Tex.
By HOLLAND COTTER (NYT)
P.P.O.W.’s “Young Curators, New Ideas III” is made up of six puzzler mini-shows all based on exhibition proposals — too often more interesting to read than the shows are to look at — submitted to the overseeing curator, Amani Olu.
By ROBERTA SMITH (NYT)
The notion that self-taught art remains a terra incognita, constantly refreshed by hidden streams of creativity around the world, is reinforced by this vibrantly inharmonious show.
By ROBERTA SMITH (NYT)
The actor James Franco is making his New York debut with “The Dangerous Book Four Boys,” an exhibition of video, sculptures and installation pieces.
By EVE M. KAHN (NYT)
The 40th anniversary of Jimi Hendrix’s death will be honored with exhibitions at Handel House in London, the National Museum of the American Indian in Washington and others.
By HOLLAND COTTER (NYT)
The African Art Museum of the SMA Fathers is a place of visual magic and the real African deal.
By RIMA SUQI (NYT)
A conceptual artist in Los Angeles makes kits so that children and parents can create art together.
By KATE TAYLOR (NYT)
Larry Rivers’s daughter wants footage of her and her sister removed from his archives.
By CAROL VOGEL; Compiled by DAVE ITZKOFF (NYT)
J. M. W. Turner’s “Modern Rome — Campo Vaccino” (1839) was bought by the J. Paul Getty Museum at a Sotheby’s auction in London on Wednesday evening for $44.9 million.
By JOYCE HOR-CHUNG LAU (NYT)
Hong Kong has major international art auctions and a popular annual art fair, but its own artists are struggling to claim a bit of the spotlight.
By KEN JOHNSON (NYT)
Noting the tournament’s sponsorship by Coca-Cola, Budweiser and McDonald’s, an obnoxious introduction in the show’s brochure observes, “The World Cup is an image of our age at its worst and most gaudy.”
By KAREN ROSENBERG (NYT)
If you couldn’t get to Washington in the fall for the Hirshhorn’s nontraveling retrospective of Anne Truitt, here’s an excellent capsule version.
By ROBERTA SMITH (NYT)
This just in: At the imposing age of 99, the accomplished American painter Will Barnet has returned to abstraction, with excellent results.
By HOLLAND COTTER (NYT)
Liz Magic Laser has a particularly ambitious work as the centerpiece in her first solo show at Derek Eller: “Chase,” a feature-length video that is an adaptation of a Bertolt Brecht play.
By ROBERTA SMITH (NYT)
Two shows — one quirky, one lavish — provide glimpses of an artist who learned from nature while keeping abreast of the latest developments in abstraction, assimilating everything with a fluid drawing ability that moved effortlessly from calligraphic to cartoonish and beyond.
By NICHOLAS BAKALAR (NYT)
A new study concludes that “The Separation of Light From Darkness,” at the Sistine Chapel, conceals a drawing of the underside of the brain and the brain stem.
By LARRY ROHTER (NYT)
Rivane Neuenschwander brings her seriously playful participatory art to the New Museum for a “midcareer survey” show.
By JAVIER C. HERNANDEZ (NYT)
The new rules, to be released on Friday, would allow as many as 140 sellers in Central Park and other popular spots.
By ROBERTA SMITH (NYT)
An Andy Warhol exhibition at the Brooklyn Museum, mind-boggling if somewhat flawed, is the first try by an American museum to come to terms with the full range of his best late work.
By CAROL VOGEL (NYT)
Art Basel, the holy grail of contemporary art fairs, opened in Switzerland on Thursday and is as big and boisterous as ever, with galleries from 37 countries.
By KEN JOHNSON (NYT)
“Art for All” at the Yale Center for British Art is a trip to the early days of tourism advertising.
By HOLLAND COTTER (NYT)
The late-career works of Renoir, in which he rejected Impressionism, are being shown at the Philadelphia Museum of Art.
By KAREN ROSENBERG (NYT)
“An Italian Journey: Drawings From the Tobey Collection, Correggio to Tiepolo” covers two centuries at the Metropolitan Museum of Art.
By KAREN ROSENBERG (NYT)
In Amy Gartrell’s art, adolescent subjects and craft materials go hand in hand with a sophisticated understanding of major design movements.
By ROBERTA SMITH (NYT)
The British painter Richard Wilson (around 1713-82) is considered the father of British landscape painting in his homeland, but he is little known in the United States. The 11 paintings in this exhibition may change that.
By KEN JOHNSON (NYT)
Kelli Williams paints small, sexually charged pictures with big philosophical ambitions.
By ROBERTA SMITH (NYT)
Jim Nutt works slowly, so an exhibition of three new, and newish, paintings and seven drawings mostly finished this year feels like a gift.
By HOLLAND COTTER (NYT)
Drawn from the permanent collection of the Museum of Modern Art, this fine-grained show is part of the museum’s recent focus on art by women.
By EVE M. KAHN (NYT)
Relics and memorabilia from infamous shipwrecks like those of the Andrea Doria, the Lusitania and the Normandie are showing up more often at auctions and in museums.
By KATE TAYLOR (NYT)
The Smithsonian Institution is leading a rescue effort to save thousands of works of art damaged in the quake in Haiti.
By DANNY HAKIM (NYT)
The artistic director of an obscure upstate theater group used state money to enrich herself, the report said.
By CAROL VOGEL (NYT)
Three months of work went into repairing “The Actor” after a woman accidentally fell into the canvas, causing a six-inch tear.
By ALEX WILLIAMS (NYT)
For the tattoo artist Scott Campbell, a life of adventure, marked with ink, now includes a gallery show.
By KATE TAYLOR (NYT)
A deal by the Corcoran Gallery of Art to sell a large piece of property in southwest Washington is facing some obstacles.
By MARGALIT FOX (NYT)
A highly regarded nature artist, Mr. Schoenherr was a Caldecott Medal-winning illustrator who painted images for more than 40 children’s titles.
By AKASH KAPUR (NYT)
The adulation of commerce and wealth in India poses important questions about the place of softer, more humanistic endeavors like the role of art and artists and the place of the humanities.
By CAROL VOGEL (NYT)
The Metropolitan Museum determines that “Erotic Scene” (or “La Douleur”) is indeed by Picasso.
By KAREN ROSENBERG (NYT)
An exhibition at the Jewish Museum recalls an era when artists, architects, dealers and rabbis shared progressive ideas about art’s place in the world.
By ROBERTA SMITH (NYT)
Two shows of Picasso prints, at MoMA and Marlborough Gallery, complement each other.
By NICOLAI OUROUSSOFF (NYT)
An exhibition offers glimpses of what made the 16th-century architect Andrea Palladio so radical and influential.
By HOLLAND COTTER (NYT)
The photographer Henri Cartier-Bresson is the subject of a handsome and large — though surely not anywhere near large enough — retrospective at the Museum of Modern Art.
By EVE M. KAHN (NYT)
The fantastical London home of the 19th-century painter Frederic Leighton reopens with loans and reproductions.
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