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Patricio Ferrari is a poet, polyglot literary translator, and editor. Recent translations include Verde amargo [Bitter Green] by Martin Corless-Smith (with Graciela S. Guglielmone; Buenos Aires Poetry, 2022), The Complete Works of Álvaro de Campos by Fernando Pessoa (with Margaret Jull Costa; New Directions, 2023), and Habla terreña [Field Talk] by Frank Stanford (with Guglielmone; Pre-Textos, 2023). Ferrari’s work appears in The New Yorker, The Paris Review, The New York Review of Books, The Southwest Review, Fence, Asymptote, and Buenos Aires Poetry, among others. Since 20...

I remember being in full rapture before many of her paintings, due, at least in part, to the maximal stimulant of urban energies made up of numerous tightly edged regions of bright colors evoking a post-Surrealist geography of imagination.

At a talk at Dia Chelsea in March, Hong Kong-born, New York-based filmmaker, artist, and writer Tiffany Sia aptly characterized her new book as a “montage on paper.” On and Off-Screen Imaginaries collates six essays—several of which had earlier versions published in Film Quarterly and October—penned in the wake of the 2019–2020 Anti-Extradition Law Amendment Bill protests in Hong Kong, the subsequent passage of the 2020 National Security Law geared toward quashing dissent, and the arrival of new OFNAA Film Censorship Guidelines in 2021.

It has been thirty-five years since Jenny Holzer lit up the Guggenheim Museum with a blazing electronic line of LED messages that curled around the interior of Frank Lloyd Wright’s iconic spiral. For many of us who saw it at the time, it is remembered as one of the most spectacular and insightful site-specific installations of the 1980s. For those who have only seen it reproduced in books or magazines, the opportunity to have a physical encounter with Holzer’s installation is a gift. The work is a transformational intervention of Wright’s famous—and famously difficult—...

Nathaniel Dorsky and Jerome Hiler are returning to New York. Partners in life and cinema for nearly sixty years, this month, MoMA and Anthology Film Archives will present a panoply of screenings of their experimental, personal, and mostly silent films—spanning from their earliest endeavors of the 1960s when they were immersed in New York’s cross cultural artistic bloom, to more recent poetic transmissions from their perch in San Francisco.