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“Running through Paulino’s work is a mystical or magical impulse that is especially vivid in her sylvan female characters . . . as if all that arduous decolonial labor had finally yielded ecological joy.” Siddhartha Mitter on Rosana Paulino New York Times Arts ow.ly/4ZrP50Wlptb

“For Whitten, abstraction is not an attempt to break away from the physical body, but to instead engage it and its sensual power to offer viewers something they can feel.” TK Smith writes about Jack Whitten at MoMA for The Brooklyn Rail ow.ly/kJlz50WlpPr

“The world that they have imagined into being over the past two decades is one where binaries are irresistible and inescapable, but...pose the potential to be pleasurably finessed out of existence.” Kaelen Wilson-Goldie on Slavs and Tatars Mousse Magazine ow.ly/lAE550WmFJF

“Her work creates an equivalence between the dangers settlers faced in search of gold and the First Nations, who were subject to forced labor, dispossession of their land, and genocide.” Sadia Shirazi writes about Lucy Raven for e-flux Criticism ow.ly/AYZ250WmFVb

“One comes away feeling as if Johnson’s whole career has been spent, in the best way possible, building a web of references . . . or cocoon for people who, like him, are figuring out how to survive.” Aruna D’Souza writes about Rashid Johnson 4Columns ow.ly/nmQr50WmGiv

“The cycles of abuse perpetrated by both the nuclear family and the school system seem impossible to eliminate, but ‘On Education’ considers the possibility of their disruption.” Monica Uszerowicz writes about an exhibition at Amant for hyperallergic ow.ly/N4P550WoRXV

“Asawa’s experience at Black Mountain grounded her creative practice and guided her unconventional path to education by teaching her how to listen to the materials she had on hand . . .” Colony Little on Ruth Asawa at Black Mountain College Burnaway ow.ly/AvR350WoS3b

“His words ask for recognition while operating within a grammar of social death—a structure where visibility doesn’t liberate, but rather conditions. . . You’re seen, but only on terms that make you manageable.” toasted agege bread 🇵🇸 on Oshay Green Mousse Magazine ow.ly/XFp850WoSmF

“Adopting the artist’s net-like approach to making, she connects local archives to discourses on modernity and architecture, and these, in turn, to Gego’s anti-sculptural experiments and teaching.” Silvia Benedetti on Mónica Amor’s “Gego” The Brooklyn Rail ow.ly/wU3U50WoSsJ

“Her paintings, rather than replicating the spectacle of violence, capture the quiet threat and insidious nature of authoritarianism—forces that hang like a massive storm cloud over American life.” Jillian Steinhauer on Diana Dowek for New York Times Arts ow.ly/VAPC50WoRW8

What’s gotten me back to blogging after a 2-month hiatus? A need to pay tribute to an incomparable patron saint of museums. May his memory be a blessing: artsjournal.com/culturegrrl/20…

“Modern experimental music merges with traditional Scottish Gaelic songs from throughout the centuries. Her albums don’t just resurrect long-lost lore; they move the past into the future.” Geeta Dayal reviews Brìghde Chaimbeul’s “Sunwise” for 4Columns ow.ly/Bkex50Wsgml

“The organizers of the most extensive Arbus retrospective to date willingly abandoned their historical responsibility to continue the ethical debate . . . in favor of a spectacle-based ‘immersive experience.’ ” Hakim Bishara on Diane Arbus hyperallergic ow.ly/wXn950Wsgpb

“Running through Vitra’s project is the belief that relations among beings and with nature can be far richer and more reciprocal than the violence of extraction.” Siddhartha Mitter writes about “Luana Vitra: Amulets” at SculptureCenter for New York Times Arts ow.ly/e6FV50Wsj9L

This Week at Anthology: The World of Barbara Loden; Everything Spins; Occasionally Humane; Imaging Improvisation; COLLECTIVE MONOLOGUE & EC - mailchi.mp/anthologyfilma…

“The book is still about her, but not wholly; it’s also a story told, lovingly, at her own expense. Decades of introspection have ultimately led her to look out.” Jillian Steinhauer reviews “Spent,” Alison Bechdel’s latest graphic novel, for The Nation ow.ly/jy0550Wsjgp

“The photographs seem above all to manifest the sovereignty of individual consciousness, for which the photographer’s view is testimony. This is an updated romanticism.” Lyle Rexer writes about “Isaac ‘Drift’ Wright: Coming Home” for The Brooklyn Rail ow.ly/rWb050WsjiR

“Tourmaline’s book is first of all an act of love. It’s also an act of filiation, of family-making, ancestor-claiming.” McKenzie Wark writes about “Marsha: The Joy and Defiance of Marsha P. Johnson” by Tourmaline for e-flux Criticism ow.ly/vqnj50WvKTV

“The show is an opportunity to observe the critical roles mentors play in an artist’s formation: transmitting skills, encouraging fearlessness . . .” Carolina A. Miranda writes about “James Jarvaise & Henry Taylor” at Hauser & Wirth for New York Times Arts ow.ly/gpYw50WwuQP

“We might understand the atmospheric as a form of spatial practice that creates micro-localities where artists and audiences alike can dissolve and dislodge.” Sohrab Mohebbi writes about the notion of “the atmospheric” for Mousse Magazine ow.ly/CnE350Wxs4b