Amber Hickey reviews the line treaded between art and activism in The Body is a Drum, The Voice a Song, The Soul a Fire at the Knoxville Museum of Art, Knoxville.
Caelan Bailey reviews the latest exhibition from artist Ida Mae, highlighting her work’s transition from realism to collaged, geometric-influenced figuration at Luca Studio and Gallery, Fort Mill.
Lauren O’Neill-Butler reviews the intergenerational survey of Latinx artists found in Nuestro Vaivén (Our Sway) at the John and Mable Ringling Museum of Art, Sarasota.
Sommer Browning reviews Thương / Nhớ, a textile installation by Phượng-Duyên Hải Nguyễn that evokes memory, lived human experience, and the invisible forces that undergird the material world at Visible Records, Charlottesville.
Virginia Knight reviews how fiber artists interpret memory, nostalgia, and time through the perspective of place in Archiving Place at the Greenville Museum of Art, Greenville.
Madeleine Seidel reviews the symbolic feast for the dead in Tommy Kha: Leftovers at Higher Pictures, Brooklyn.
Philip Kelleher-Rios reviews the abstract distortions across the paintings, pigment transfers, and readymade objects found in Triple Hits at Barbara Davis Gallery, Houston.
Merin McDivitt reviews Molly Sawyer: Through the Light, a material response to the aftermath of Tropical Storm Helene, at the Spartanburg Art Museum, Spartanburg.
Montenez Lowery reviews the acts of obscuring found in UNTITLED, Petie Parker’s solo exhibition at Old Rabbit Gallery, Atlanta.
