What distinguishes Ledgerwood’s work from the earlier generation of women artists working in the domain of Pattern and Decoration is its bluntness and humor.

The 1969 exhibition 5 + 1, and now Revisiting 5 + 1, are reminders that the history of Black Art in the United States is diverse rather than monolithic.

In Seongmin Ahn's paintings, it is not our past we are looking at but our possible future.

The artist’s droll paintings present the pie chart as a useful monitor of a group’s behavior, while also revealing it to be exclusionary and superficial.

Odili Donald Odita challenges the long-held belief that abstract art is a purely Western tradition.

Leiko Ikemura is concerned with the meeting place of the spiritual and physical, the ineffable and material worlds.

A show of early works by Jaffe challenges viewers to think about the road she pursued in her art, and what it means to go your own way.

What makes Siobhan McBride's work as a whole interesting is her interest in the ambiguity, suggestibility, and elusiveness of everyday life.

The Chinese painter learned the state-sanctioned style of Socialist Realism and then elected to unlearn it in order to reinvent himself.

It seems Taaffe is looking at the present as an extinction event, and that one purpose of painting is to bequeath some record of history and time to the future.

The rules that structure Jane's paintings take her to some place strange and fascinating, beautiful and perplexing, mind-boggling and riveting.

Steir’s work of the ’90s was the result of physically demanding processes. What happens when you cannot do what you once did?

Anselm Kiefer's philosophy has its roots in German Romanticism, particularly the belief that the artist can mediate between the creative and the divine, between earth and heaven.

There is the singular artist and then there is the more exclusive club that has only one member. Harvey belongs to the latter.

Astrid Dick was told that she could not paint stripes because Sean Scully and Frank Stella have done so before her, a patently foolish statement.

The pleasure of Siena’s art arises from the tension between the overall image or the changing visual field and the individual units.

In his monochrome paintings, Ha Chong-Hyun recognizes that no matter how much we claim to reveal, something will still remain hidden.

Kyung-Me’s disciplined focus on minute details is inseparable from a vast grotto of feelings that she has channeled and kept in check.

Bing's search was not about style, being fashionable, or fitting in. It was about trying to acknowledge the multiple worlds one inhabits.

Artist Pachi Muruchu merges his radical beliefs and resistance to colonialism with a complex sense of color and the moods it can conjure and inflect.

Adams's imaginative recreation of our everyday surroundings in her paintings is a reminder of how fleeting and transmutable the material world can be.

Han's paintings are at once cryptic and straightforward, inaccessible and yet meticulously laid out.

Fleming's geometric paintings are not the Minimalism of Greenberg and Judd, with their insistence on flatness and the elimination of space in painting.

Mitchell is conscious of the many profound changes occurring in our society, and the urgent need to challenge old tropes.

In his paintings of ground cover and gravel, Weidle touches on the despair that has replaced optimism in the United States, the sense that the future is bleak.

Masterworks of American Landscape Painting at the Center for Figurative Painting makes clear that the term “landscape” has been widely interpreted.

In an age dominated by narcissism and material excess, Acheson's anti-heroic position as an admirer of other artists should be something that we reflect upon.

More than 100 modest and intimately scaled artworks in Still Life and the Poetry of Place provide glimpses into interiors, both humble and opulent.

Whatever else Mire Lee's Carriers is about, it seems to me that has to do with sending you back into yourself, which is not necessarily a soothing place.

I was curious to see Casteel's first exhibition since her New Museum show. I was not disappointed.

Finding her subject matter in ordinary, everyday encounters, Levinthal hints at a subject’s interiority and to the way strangers are separated from each other.

Korea's Dansaekhwa artists eschewed the idea of art-about-art and commodity culture in favor of an abstract art imbued with traces of the struggle for liberation and cultural identity.

In her art, Park is in touch with our collective anxieties about a future that seems to darken with each passing day.

Guston became a witness to the 20th century’s darkest and foulest experiences without closing his eyes or turning away, and enabled us to see and reflect upon this brutality.

The gap between the material body and the psychological one, which we all too often take for granted, is one of the underlying themes of Hiro's exhibition.

It is time that the art world recognize what Bluhm went on to do during the last three decades of his life, when he was deep into his own territory.

Gechtoff’s work did not fit into any of the New York art world’s narratives of progressive art. It is time we look closer at what this marvelous artist achieved.

Colescott’s use of stereotypes and humor continues to make viewers feel uncomfortable because it jabs indelicately at our complicity.

The sense of isolation, of being alone in the natural world, is pervasive in Frank Walter's art, and yet one can also sense a muted calm.

I am not alone when I say that I had never heard of Barton before his exhibition opened at the Morgan Library & Museum.

Her works, depicting objects from Korean markets, invite viewers to marvel at what can be achieved with fabric.

Hall makes no attempt to entice the viewer to begin looking and to look again, letting her methodical craft compel viewers to reflect upon their experience.

If art is regarded traditionally as an impermeable form that resists the effects of time, Rosen acknowledges and accepts their inevitable triumph.

Gary Petersen recognizes that whatever dream of unity geometric artists once pursued is no longer possible.

Statsinger has created a world that is simultaneously microscopic and macroscopic, cellular and cosmological, wherein the inexplicable and enigmatic coexist.

In her sculpture, Conrad is disengaging from permanence and the imposition of one’s will, as taken up by sculptors from Michelangelo to Serra.

Donald Evans concentrated all of his attention on the postage stamp, unlocking its potential to evoke distant, unseen lands.

Artist Minouk Lim wants to offer a very different perspective on how one might deal with a grim history whose effects continue to be felt in the present.

Lewis's tattered canvases and pasted over drawings mirror a world in need of constant upkeep and repair.

Michelle Segre’s art is truer to the actual world we live in than to the ideal one proposed and refined by the art world and its institutions.