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Widely distributed in recent years and now in MoMA’s collection, the two-minute video depicts Parente entering a closet and hanging up her sweater without first removing it from her body.

In the 1960s, Zenta Dzividzinska was one of the few women photographers in Riga whose work was highly regarded in the local and international photo club culture. Her collection of images capturing the daily life of three generations of women living in a small house in the country, have remained largely unknown until recently.

Artist and community organizer Tamarra reflects on the personal experiences, emotional complexities, socio-political events, and pilgrimages to non-binary communities across Indonesia that motivated Tamarra’s name change.

On view in the David Geffen Wing until October 25, 2021, this text considers the passbook, recorded and framed by Sue Williamson, as an object that has survived to bear testimony to the presentness of the past.

Eschewing assumptions about the absence of artistic and political agency under so-called “undemocratic” circumstances, Chaw Ei Thein and Htein Lin’s public performance Mobile Market / Mobile Gallery speaks to the prevalence—and symbiosis—of art and political action in Burma.

This text brings together Marisol’s sculpture Love and Frank O’Hara’s poem “Having a Coke with You” to explore their shared investigations of the personal in a capitalistic landscape, queer eroticism, global Cold War politics, and stoppered versus flowing communication.

In this interview, Belarusian curators Aleksei Borisionok and Anna Chistoserdova discuss the recent political upheavals in Belarus and their impact on the local art scene.

This text is a shortened version of a presentation made to C-MAP Africa group in October 2020 on Mozambican modernist, Malangatana Valente Ngwenya.

In this interview, Mexican-born, Brooklyn-based artist Laura Anderson Barbata highlights the importance of reciprocity and shared knowledge in her community-based, trans-disciplinary practice.

In an effort to consider the varied impacts of COVID-19 — a virus with a global reach — post has interviewed curators and directors from vital museums and galleries around the world about how the pandemic has affected their ideas regarding programming, civic engagement, and the role of the institution.

This conference series, organized by the Cisneros Institute, looks at the history of water management in the Americas through the interdisciplinary work of artists, theorists, historians, and local communities.

This essay considers the photographic work of Sanlé Sory and Ambroise Ngaimoko as part of the flourishing music, cinema, and art scenes in Burkina Faso and the Democratic Republic of Congo (DRC), where studio photography was a part of the creative expression and self-styling of these nascent republics.