At the Brooklyn Public Library, an exhibition on queer Finnish artist Tove Jansson's beloved characters reminds visitors of all ages that justice and joy are within our grasp.

It fails to directly address the German state’s repression of pro-Palestine expression, even as many of its works model “safer” forms of resistance.

Thomas Holton photographed the Lam family for two decades, drawing attention not only to where but also how they live.

An exhibition centers efforts in Los Angeles from the 1980s to the 2000s to chart an ongoing struggle for liberation.

Abstraction and representation bleed into one another in the same way that memories momentarily coagulate into images before dissolving again.

Marisa J. Futernick creates fictions inspired by the Catskills, a vacation destination for midcentury Jewish families.

Scientists today still make use of Mary Banning’s research, examining the same mushrooms that she located, preserved, and packed away for posterity.

Homage: Queer Lineages on Video is worth a visit for anyone to broaden their horizons of what queerness might mean, and to discover histories often left untold. 

By channeling a language as viscerally human as football, Anadol exposed both the calculated hostility of artificial intelligence and the frigidity of the fine art world.

Red Line Service, which provides art opportunities for currently or formerly unhoused people, celebrates its anniversary with an exhibition.

Umber Majeed’s work cuts deep for those who saw their diasporic culture meld queasily with early internet culture.

The 20th-century artist belonged to a "prophetic community" that resisted oppression.

A survey of work by the pioneering Mexican feminist artist reimagine landscapes and home interiors as sites of political and emotional tension.

The hybridized energy of Woolfalk's art is infectious; it permeates everything we see, while prodding us to question what we imagine the future might look like.

The exhibition is diffuse with a sense of urgency to document this history against aggravated societal and governmental threats of erasure.

Asawa gracefully wove together many sides — an innovative and singular artist, a tireless advocate for arts education, a community builder, and a loving wife and mother. 

So much of what Ader explored was about surrendering to destiny, but also about heeding internal calls — to adventure, open horizons, and the sublime.

A show at the Art Students League leans on the names of its alumni and the aura of its environs, but that’s enough.

As an HIV-positive trans woman and advocate, Dzubilo faced challenges that should have been history by the early 2000s, yet persist today.

It is crucial to grapple with the colonial structures that helped sustain the lives and work of the two 19th-century contemporaries, both celebrated as feminist heroines.

An exhibition emphasizes the fluidity between Brazil’s Constructivist, Concrete, and Neo-Concrete movements.

Global Baroque surveys the triumphant internationalism of a new age of vast and rapid interchanges of art and culture, with Rome at its center.

The artworks in Spora, unfolding over three years at the Swiss Institute, linger in the mind, its interconnections multiplying like spores.

Her Nature Studies invoke the promise of something greater, a direct line from the material world to the spiritual experience that art is presumed to offer.

Edward Burtynsky's photographs once offered a prescient vision of large-scale anthropogenic changes; now, they feel more and more like a pretext for aesthetic dazzle.

Throughout her work, we see women attempting to free themselves from the entanglements of patriarchy.

Cheang is concerned with the ways technology enables commodification and control, from communication to nourishment to sex.

Nora Naranjo Morse’s colorful sculptures watch over the events and characters in her daughter Eliza’s paintings from their own unique perspectives.

The Brazilian artist and Candomblé priest established an international art practice that foregrounded diasporic African perspectives.

The magic of Stout’s artworks does not feel contingent on a viewer’s comprehension — it feels auratic, as if emitting an electrical current of meaning.

Michelle Im’s disconcerting ceramic figures subvert ornamentalized representations of East Asian femininity.

A fundamental part of Overstreet's mission was to break free of the flat, rectangular picture plane and the Eurocentric view of painting that dominated American art.

A lot of the enjoyment of Thiebaud’s retrospective is spotting the Easter eggs of earlier art, whether overt, covert, or something more subtle.

The artist’s magnificent, rhinestone-encrusted cast sculptures tell multiple stories that look at contemporary queer and trans existence.

Years before her feminist performance art, she channeled her feelings through a copy machine.

The artist’s Twice Seen explores visibility and perception, challenging us to refuse to turn one another into novelties.

Questionable curatorial choices seem intended to prevent critical discussion in a major survey at Manhattan’s Park Avenue Armory.

Pérez’s impulse as a photographer is to hold a feeling still — which is, really, a means of honoring the living, witnessing them.

A new retrospective of Hamid Zénati is also an important record of an interconnected North African modernism.

He seems to speak to us directly and clearly, given his love of striking light and shadow. We experience him personally.

Burn Me! at The Box examines how fire has shaped art and life west of the San Bernardino Mountains — in the last six months and far earlier.

An exhibition of Ligon’s well-known works at the Brant Foundation shows how language fails us and confronts us with silence.

A retrospective rescues aspects of her career from her long-running reputation as “glamorous girl artist,” including her politics, humor, and sense of self.

Banisadr makes images that are relentless in their toiling motion — he paints as if bedlam is foundational to the world.

His social realism style was well suited to the difficult subjects, including racism and other forms of oppression, he took on in his art.

A show at London’s National Portrait Gallery reveals the artist’s astonishing technical skills, but the wall texts are laugh-out-loud amusing at best and art historically dangerous at worst.

Highlights are Eleonore Zurawski’s delicate and brutal sculptures and Rebekka Federle-McCabe’s explicit but tender dog sculptures.

Playful and witty, full of bright color and unexpected shapes, two of the most delightful solo shows up in Chicago right now concern human bodies.

His recent paintings of everyday life transcend the literal without becoming overtly symbolic; this is the tight rope he walks.

She combines text, images, and objects to orchestrate a distinct style of visual poetics that is grounded in language while rewiring it.