Laura Mulvey argued the camera's gaze is coded male. Lee Miller's own nude photography, at Tate Britain, tests what changes when she holds it.

More than 360 works from the TBA21 Collection are set to form the basis of a new Madrid venue devoted to contemporary art, environmental themes and public engagement

Roland Barthes argued that myth turns history into nature. The Bayeux Tapestry's return to England tests exactly that argument.

Christina Sharpe wrote that slavery's aftermath is ongoing, not historical. Holly Graham's Manchester Art Gallery residency turns that idea into cloth.

Mark Fisher wrote about Britain’s lost futures. This year’s Turner Prize exhibition, staged in Middlesbrough, sits squarely in his territory.

Susan Sontag questioned what images of suffering do to viewers. A new IWM exhibition of wartime paintings raises it again.

Rasheed Araeen challenged British art institutions on empire and erasure. Cambridge’s Benin bronzes restitution puts his argument to the test.

Art historian Griselda Pollock warned against turning women artists into myths. Tate Modern’s Frida Kahlo show tests that warning.

CARC forges transatlantic art partnerships with VCU, ASU, and UNM, launching Visual Collab—a flexible, interdisciplinary fellowship welcoming diverse creative practitioners globally.

CARC translates complex research into public exhibitions and essays, turning art into a shared civic tool for understanding.

Between Mediums: Alchemy, Instability, and the Architecture of Perception

A contemplative exhibition of luminous abstractions offering quiet reflection within the rhythms of hospital life.

INTERSUBJECTIVITY DIALOGUES FROM THE ‘ANOTHER SHORE’ SERIES BY LANA STALNAYA

Silvio Vlahovic's Dissonant Silence explores decay, memory, and mortality, blending oil art with Jonny Greenwood's haunting soundscapes.

Endless formal search in the painting of Antoine Drumbeat

Reduction Atmosphere

Vector Fields explores fragility, repetition, and near-symmetry through layered pigment and thread installations.

Margarita Kovalkova: What can be hidden in abstraction?

Deconstruction of the visible world in the painting of Lola DiDangue