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Zanele Muholi presented the full breadth of the South African artist’s work to date. Muholi’s photographic practice attends to the Black LGBTQIA+ community and addresses sexual politics, racial violence, self-affirmation, and lesser-known histories. Originating at Tate Modern, the exhibition is an international feat, curated by Tate’s Yasufumi Nakamori and Sarah Allen with Gropius Bau’s Natasha Ginwala. In a video interview, Muholi opens with the statement, “What matters most is content—who is in the picture and why are they there?” In Zanele Muholi, the curators echo the artist’s sentiment, as Muholi’s photographic and multimedia series unfold throughout Gropius Bau’s ten… Full Review

Author’s note: This article capitalizes the movement of Impressionism only when transcribing a quotation or with deliberate emphasis in discussing the book’s definition of the movement. In its goals to transport readers “to the moment in history when Impressionism made beholders alert and uncomfortable” (7) and to offer a springboard for future inquiries, André Dombrowski’s edited volume Companion to Impressionism succeeds. Its thirty-four essays dive into single-object studies, scrutinize critical reception, and integrate transnational examples with a diverse set of methodological tools to analyze impressionism’s imbrications of the objective and subjective, the perceptual and the sensual, in rendering a world… Full Review

The exhibition Viva Video! The Art and Life of Shigeko Kubota was the first large-scale survey exhibition since Kubota’s career survey at the Museum of the Moving Image in New York, in 1991, and this catalog—recipient of the 2021 Ringa Art Encouragement Prize—attests to the extent that interest and research on her work has progressed. The reevaluation of women artists has been proceeding apace throughout the world. Designated the “mother of video art,” Shigeko Kubota has been a particular subject of reconsideration and was recently honored with an important focused exhibition Shigeko Kubota: Liquid Reality at the Museum of Modern… Full Review

“Qui suis-je?” André Breton asks at the opening of his anti-novel Nadja (1928): Who am I? And then, a line down, whom do I haunt? It is a well-known and by now overdetermined couple of lines, which nevertheless, as much as the entire novel itself, have had a considerable impact on generations of writers, poets, and artists around the world since its publication. One deeply impacted group is explored by Joanna Pawlik in the second chapter of her book on the reception of (chiefly French) Surrealism in the United States from the 1940s onward: Beat and San Francisco writers. In… Full Review

Rakhee Balaram’s Counterpractice: Psychoanalysis, Politics and the Art of French Feminism is a resolute rejoinder to an assumption within art history that radical feminism’s agitations of May 1968 are no longer relevant in a post #MeToo world. Despite the relatively short period covered by Counterpractice (ca. 1970–81), Balaram presents an extraordinary breadth of visual, literary, and historical material accompanied by a depth of research, significantly expanding current understanding of the myriad artists, movements, and practices in the decade after 1968 in France, with special attention to how artists were catalyzed by the philosophy of French feminist vanguards Hélène Cixous, Luce… Full Review

When riding Line 1 of the Paris Metro you might encounter the Louvre-Rivoli station. As you exit the train you come face-to-face with antique statuary displayed in niches along the dimly lit platform. In the shadowy commotion of mass transit you may even notice the Venus de Milo stir to life among the crowd of Parisians and tourists. This contact between ancient sculpture (in fact, copies of works housed in the Louvre that were installed in the Metro in 1968) and that quintessence of modern life—taking the subway—has rich precedents, traced by Sarah Betzer in Animating the Antique: Sculptural Encounter… Full Review

Lucy Bradnock’s No More Masterpieces: Modern Art after Artaud offers a reassessment of Artaud’s reception among artists in the United States (and particularly artists who could be grouped within the American avant-garde). Looking at the period when his work was introduced to the English-speaking world in the 1950s and tracing its circulation through informal networks and official publications, Bradnock deftly demonstrates the challenges, limitations, and opportunities of Artaud’s emergence in the United States. The result is a well-researched and highly readable reconsideration of his legacy and influence there. Artaud’s texts—often opaque and contradictory—offer fertile ground for artists, who can interpret… Full Review

The past two years have seen a comic turn in African American visual culture. From Jean Lee Cole’s exploration of the earliest forms of Black humor in the final chapter of How the Other Half Laughs: The Comic Sensibility in American Culture, 1895–1920 (2020) to Danielle Fuentes Morgan’s analysis of contemporary Black comedy as a vehicle to expose and critique racial hierarchies in Laughing to Keep from Dying: African American Satire in the Twenty-First Century (2020) and to Richard J. Powell’s comprehensive examination of Black satire as a language of resistance in Going There: Black Visual Satire (2020), there has… Full Review

A 1938 draft of Changing New York by Berenice Abbott and Elizabeth McCausland opens with Abbott’s Brooklyn Bridge: Water and Dock Streets, Brooklyn. The steel construction of the Brooklyn Bridge spans the image, forming a stark contrast to the old brick warehouse in the foreground. The disruptive horizontality of waterfront construction partially obscures the verticality of New York’s skyscrapers in the background. If skyscrapers and construction are emblematic of the march of progress, the image’s layers and obfuscations suggest that change is not so linear. Instead, Abbott compresses the past, present, and future within the flat planes of the… Full Review

Carefully rendered wash drawings in a variety of hues, prints enhanced by gouache and watercolor—the sixteenth to eighteenth centuries saw a progressive expansion of polychromy in architectural representations and are analyzed by Basile Baudez in Inessential Colors. Architecture on Paper in Early Modern Europe. Throughout his extensively illustrated work the author interrogates this phenomenon, which initially served to bring clarity to a building’s design and later engaged in a visual language intended to captivate the viewer. The field of study is vast, from Italy to the Netherlands, Great Britain to France, by way of Russia, Spain, or Germany. The author… Full Review