Giving a great artist her due.

The 2022 exhibition “Finding a Way”

‘What is/was Post-Modern?’

Olga de Amaral and the “incredible technology” of the knot.

For twenty years, the free-form collective has brought color, movement, and joy to social practice

Profile of fiber artist Marie Watt in advance of her solo show “Companion Species (At What Cost)”, 2021-22.

The monumental forms of a quiet but powerful ceramic sculptor.

Review of the 2019 reopening of the MoMA as published in Disegno, Issue #25, Winter 2019/20.

Profile of sculptor Woody De Othello adjacent to two exhibitions in the fall of 2021.

Sure, tidying up is a start. But it won’t get you to the kind of lived-in, personalised space that defines an ideal of home.

Isamu Noguchi at the 1986 Venice Biennale.

A tale of two bookcases.

Review of Hugh Hayden’s exhibition “American Food,” on view at Lisson Gallery in London.

A profile of the Canadian artist, whose works explore the relationship between technology and racial oppression.

Revisiting the 1969 MoMA exhibition Wall Hangings.

Myths of Japanese minimialism.

A profile on the occasion of Brackens’ disrupted exhibition blessed are the mosquitos.

At long last.

Going deep with the work of a great Italian avant gardiste.

Revisiting the Pattern and Decoration Movement, the twentieth century’s last avant garde.

A new generation of design critics is talking. Are you listening?

An unprompted reflection on an art world controversy.

Ceramics enter the digital age… and win.

Contemporary design occupies a Venetian architectural masterpiece ,

Considering the multifaceted career of the great Italian radical designer and theorist.

A review of Isaac Julien’s cinematic imagining of the great abolitionist Frederick Douglass.

Reading the great fiber artist in light of Rosalind Krauss’ forty-year-old essay.

Down and dirty, though not without glamor, with jeweler William Harper.

Thomas Heatherwick’s Vessel, a new project for Hudson Yards in New York City, is like a Hollywood special effect let loose in the landscape.

Was Lucio Fontana, at heart, just an easily distracted ceramist?