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“In [Sonia Delaunay’s] studio,” a 1927 advertising flyer promised, “you will know that you are seeing something new, something that… will transform your life into a work of art.” Delaunay’s Paris atelier in the twenties was producing textiles, carpets, garments, movie sets, furniture, books, and paintings—everything a person might need for an artful existence and all made in the “simultaneous” (simultané) style that the artist developed with her husband, the painter Robert Delaunay.

Edmund Berrigan is the author of More Gone (City Lights, 2019). He is co-editor with Anselm Berrigan, Alice Notley, and Nick Sturm of Get the Money (Collected Prose 1961-1983) by Ted Berrigan (City Lights, 2022).

Maryam Taghavi’s installations, paintings, and institutional interventions appear meditative, tranquil on jewel-toned surfaces, yet they are charged with a consciousness that embraces the impossibility of fully understanding the mysteries between spiritual and ordinary worlds.

Songs of My Softening, a new collection by poet Omotara James, is a clear pronunciation of the pristine spaces in which you are seen. Equal parts hurt and joy, in her poems’ many iterations, the throughline is that they are unwavering in their truths, a feat when Omatara’s life experience is so specific—her talent, her race, her gender, her sexuality, her size—she is speaking of you. You are complicit in every direction—every entry an ear and a prayer.

Richard Serra speaks with Michael Auping about the importance of site-specificity and artistic intention.