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John James Anderson, The Cat and the Splat, board book

John James Anderson, The Cat and the Splat, board book

Joseph No Two Horns, (He Nupa Wanica), shield (Hunkpapa Lakota, Standing Rock Reservation, North Dakota, 1885), Native tanned leather, feathers, pigment, ink, sinew, cotton, plant fiber, wood (courtesy Metropolitan Museum of Art, promised gift of Charles and Valerie Diker, photo by Dirk Bakker).

Joseph No Two Horns, (He Nupa Wanica), shield (Hunkpapa Lakota, Standing Rock Reservation, North Dakota, 1885), Native tanned leather, feathers, pigment, ink, sinew, cotton, plant fiber, wood (courtesy Metropolitan Museum of Art, promised gift of Charles and Valerie Diker, photo by Dirk Bakker).

From a patchwork of shantytowns to retail spaces, Tracey Snelling's miniature worlds describe the disorder of life and offer a compelling argument that the way we inhabit space is subjective.

From a patchwork of shantytowns to retail spaces, Tracey Snelling's miniature worlds describe the disorder of life and offer a compelling argument that the way we inhabit space is subjective.

Dread Scott, " " (2015) hangs outside Jack Shainman Gallery on (photo provided by Jack Shainman Gallery)

Dread Scott, " " (2015) hangs outside Jack Shainman Gallery on (photo provided by Jack Shainman Gallery)

How African-American Artists Fought to Diversify Museums

Three major New York exhibitions provoked outrage and protest from African American artists amid the rising black power movement—what can we learn from them?

Hyperallergic | Modeling Artistic Resistance in the Era of Trump by Cathy Park Hong | Installation view, Julie Ault: afterlife at Galerie Buchholz, November 13, 2015–January 16, 2016, showing David Wojnarowicz, “Magic Box” (nd) mixed media box, 8 x 11 1/2 x 17 in.

Hyperallergic | Modeling Artistic Resistance in the Era of Trump by Cathy Park Hong | Installation view, Julie Ault: afterlife at Galerie Buchholz, November 13, 2015–January 16, 2016, showing David Wojnarowicz, “Magic Box” (nd) mixed media box, 8 x 11 1/2 x 17 in.

Of what use is art? It’s a question often asked in societies where money is the prime measure of worth, usually by people who do not understand art—and therefore dislike it and the artists who make it. Now, however, the question is being posed by artists themselves.

Of what use is art? It’s a question often asked in societies where money is the prime measure of worth, usually by people who do not understand art—and therefore dislike it and the artists who make it. Now, however, the question is being posed by artists themselves.

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