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In a Brooklyn Rail review of John Armleder’s exhibition on view at our NY gallery, Saul Ostrow writes, “By conflating painting with design, décor, and everyday objects, his ensembles and pour/puddle canvases both adhere to and undermine modernist purity and the romantic myth of the unique, expressive work, treating the art object as a flexible, context-dependent node in a network of aesthetics and commerce.” Read more here.

In an interview with BOMB Magazine, Mario Ayala speaks with Rosa Boshier González about his life-size van paintings currently on view at the Contemporary Art Museum Houston and his ideas around “the vehicle as a collective experience.” Read more here. 

Rashid Johnson’s large-scale mosaic, drawn from his "Broken Men" series, is installed at the Obama Presidential Center opening in June. The work is among 30 artwork commissions by Barack and Michelle Obama. Read more here.

Rashid Johnson’s Untitled Anxious Red Drawings is included in TIME Magazine’s selection of 25 works that define America now, a list highlighting artworks and design that “reflects where American culture is headed, speaks to the present in a meaningful way, or otherwise evokes this moment in time.” Read more here.

In The New York Times feature on sister dreamer, Lauren Halsey shares: “For me to be able to sleep at night, my artwork needs to be charged with something more. This is the first time in my practice where I’ve been able to assert that something more and to be in collaboration with a neighborhood to do it.” Read more here.

Leading up to his Independent presentation, Jason Fox speaks with John Chiaverina about pop cultural references and broader art historical influences that shape his new works. Read more here.

Lauren Halsey speaks with NBC Los Angeles about sister dreamer, her new outdoor sculpture park honoring the people and the neighborhood. Read more here.

A recent Los Angeles Times feature looks at Lauren Halsey’s sister dreamer as “both a once-in-a-lifetime artwork and a free, public venue where every day, from dawn till dusk, people can live and imagine.” Read more here.

In The New Yorker review of Torbjørn Rødland’s exhibition, Chris Wiley writes about “his pictures’ flummoxing, beguiling mélange of romanticism, humor, spirituality, sex, horror, glamour, and poignancy.” Read more here.