Reviews
Arata Isozaki, Re-Ruined Hiroshima, Photomontage, 1968
Repeated throughout his career and intoned almost like a dirge, the potent phrase “The city of the future lies in...
Flipper, Cousteau, and Homo aquaticus
The broadcast of Flipper and Jacques Cousteau’s documentaries introduced audiences to a seemingly alien world. But these popular shows sought...
The Population Bomb in the Rearview Mirror
“The battle to feed all of humanity is over. In the 1970s and 1980s hundreds of millions of people will...
Series Collapsed by MPA
Infinity had to start somewhere. ∞, also known as the lemniscate, the ouroboros, or the “lazy eight”—often a line with...
Erasing Pronouns: Beatriz Santiago Muñoz’s Ottilia
The women say that of her song nothing is to be heard but a continuous O. That is why this...
Eamon Ore-Giron: Competing with Lightning / Rivalizando con el relámpago
Halves are made whole in Eamon Ore-Giron’s syncretic paintings, which combine elements from the Americas and Europe at different points...
Judie Bamber
For the uninitiated, approaching Judie Bamber’s work in the Richard Telles Gallery this summer might innocently begin as a contemplation...
Art and the Thinking Machine: Coded: Art Enters the Computer Age, 1952-1982
One of the first appearances of digital computers before a mass US audience (and a global one) in the early...
Insisting on Resisting : Counterpublic 2023
St. Louis, home of the Gateway Arch at the confluence of the Missouri and Mississippi rivers. Emblem of Manifest Destiny....
Amalia Amaki/Liz Hampton
When the Feminist Women’s Health Center expanded, a library of books and video tapes on women’s health issues was made...