Art

Shahn was an American phenomenon, but a new retrospective suggests that we’ve come to prize his politics over his accomplishments.

Michel Majerus died in a plane crash, but the contents of his laptop are providing a window into his process two decades later. Arcangel says, “It’s like he just stepped out of the room.”

Cig Harvey’s “Emerald Drifters” is a rallying cry to exist in our bodies.

The launch of GPT-4o inspired a rash of A.I.-generated Studio Ghibli-style images. They may bode worse for audiences than for artists.

Françoise Mouly, The New Yorker’s art editor, presents a seminar on how the magazine’s famous covers are crafted each week, joined by the cover artists Sarula Bao and Adrian Tomine.

Lady Liberty’s precarious perch.

Sunlight flickering on the hustle and bustle of the streets.

In a body of work that spans fine art and fashion photography, Cox has repurposed familiar imagery—the Pietà, “The Last Supper”—to broaden the scope of how we envision our deities and our histories.

The artist attempts to preserve the most perfect time of year.

More than beauty, more than color, the artist reveals the doubts that bind us.

The artist, who has died at eighty-seven, rattled standards of modernist abstraction rather as Bob Dylan did those of folk music.

The country is being defined by disaster. What would it mean to tell a new story?

The artist depicts stepping out of the subway into the overwhelming glow of the city.

Images from a century past showcase colorful dreams of a magnetic metropolis.

“Lennox Mutual,” a one-on-one immersive theatrical experience, raises questions about performance, A.I., and corporate culture.

The artist revisits the infamous Oscars slap to riff on the tensions of this year’s ceremony.

I remember being told that I was not allowed to leave the hospital until I admitted that what I did was “wrong.”

The artist captures New York’s smallest pedestrians as they make their way through the big city.

In an illustrated depiction of a young girl’s self-discovery, monstrosity is only skin-deep.

Rauch has been called the “nicest man in show business.” Now he’s trying to bring the spirit of community theatre to a building that cost half a billion dollars.