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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.

In a recent review and interview with Tristan Unrau, Emma Schartz writes, “Hopes and Fears presents contradictions such as sincerity and artifice, humor and melancholy, reverence and play, not as problems to resolve, but the conditions under which painting still feels alive.” Read more here.