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Idris Khan is an artist comfortable operating in the interstitial zones between translation and interpretation, absence and presence, and a more expansive apperception of art historical indexicality. His first one-person show in the United States, in Santiago Calatrava’s soaring wing of the Milwaukee Art Museum brings together multiple, distinct phases of the artist’s career that evince a restless search to capture the generic profundity of meaning in itself.

The Hamburger Kunsthalle has an opening starting immediately as Head of the Collection of Classical Modernist Paintings.

A review of Victory Parade by Leela Corman.

“The language of nature is different from the language of art. One cannot copy from one language into the other, only translate. Besides the lite

This striking home, created in the late 1920s by industrial design pioneer Peter Behrens, retains much of its original aesthetic almost 100 years later

We asked our staff and contributors to look back on a year in art around the world, from major museum shows to unexpected gems in alternative spaces.

James Panero on “Max Beckmann: The Formative Years, 1915–1925” at Neue Galerie.

As beautifully controlled as his paintings are, they also present a ghastly vision of the world.

The extensive presentation illustrates not only the radicalism with which the Vienna-born painter and graphic artist kept transforming his style but a

A thrilling survey of American artist Nicole Eisenman injects the venerable medium of painting with vitality and virtuosity