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In her @observer review of “The Women Question 1550-2025“ curated by @alisongingeras at @msnwarszawa, Sarah Moroz highlights the work of #BettyTompkins. 

“Her ‘Women Words (Artemisia Gentileschi #2),’ a 2024 acrylic on digital print on canvas made specifically for the show, remixes ‘Jael and Sisera’ (1620) by Artemisia Gentileschi. Tompkins’ version is partially overwritten—quite literally—with vituperative phrases in pink lettering.” Of Tompkins’ work and the exhibition at large, Moroz concludes, “‘The Woman Question’ is an exercise in dismantling that hierarchy of power, taking a prismatic and expansive view via its intersection of geographies, identities and timelines. If only such an exercise could ripple beyond museum walls.”

Click the link in our bio to read the full article.

📷: Betty Tompkins, “Women Words Painting (Artemisia Gentileschi #2),” 2024, acrylic on digital print on canvas, 47 x 77 ins.

Currently on view in South Korea, works by #MartinWong and #DavidWojnarowicz are featured in the group exhibition “Spectrosynthesis Seoul” at @artsonje_center.

The exhibition offers a multilayered perspective on LGBTQ+ artists who have led avant-garde practices across temporal, spatial, and institutional boundaries. It examines the currents of contemporary queer art while tracing the topography of queer art in Korea—particularly in Seoul—as it has formed amid the country’s significant political, social, and technological transformations, and the tensions within them.

“Spectrosynthesis Seoul” is on view through June 28 at Art Sonje Center, Seoul, Korea. 

📷: Installation view by Seowon Nam. Courtesy of Art Sonje Center.

This week in @voguemagazine, Emma Specter highlights #CaroleeSchneemann in “The Artists Who Put Their Bodies Into the Work.”

Specter writes, “There is perhaps no more literal interpretation of using the body as art than Schneemann’s 1975 work ‘Interior Scroll,’ in which she undressed, painted her body with mud, read from her book ‘Cezanne, She Was a Great Painter,’ and then slowly pulled a scroll from her vagina to read a response to male criticism of her work.”

Click the link in our bio to read the full article.

📷: Carolee Schneemann, “Interior Scroll,” 1975

In his overview of the 61st @labiennale di Venezia for @artnews, @maxduron highlights the work of @guadalupe__maravilla. 

“In these moments of survival, it’s important to look at artists whose work teaches us resilience and who made work at the margins because it was life-sustaining,” writes Durón. “Guadalupe Maravilla collects the material trace of migration, adding found objects that retrace his own childhood migration to the U.S. from El Salvador, and assembles them into his ‘Disease Thrower’ sculptures, which he describes as ‘both shrines and healing instruments.’”

Click the link in our bio to read the full article, and don’t miss works by #GuadalupeMaravilla at La Biennale di Venezia, on view through November 22, 2026.

📷: Guadalupe Maravilla, “ICE Age Disease Thrower #4,” 2025, steel gong, cotton, glue mixture, plastic, and objects collected from a ritual of retracing the artist’s original migration route, 100 x 80 x 60 ins.

“Wong absorbed culture with an egalitarian attitude in which conventionally perceived ‘high’ and ‘low’ culture is put on equal footing,” writes @artstigator in his review of the ongoing exhibition “Martin Wong: Popeye” for @whitehotmagazine. 

Continuing, “Because of his prodigious and perpetually active imagination, even a single body of work like the ‘Popeye’ series is chock full of medley cultural references, the sorts of things one would never expect to coexist in the same sentence: Renaissance portraiture (possibly à la Arcimboldo), tattoo designs, comic book illustrations, cartoons, Tibetan ‘Citipati,’ Op Art, and scores of other overt and covert cultural references.”

Click the link in our bio to read the full article, and don’t miss “#MartinWong : Popeye” on view through May 30 at 392 Broadway.

📷: Installation view of “Martin Wong: Popeye”

We are pleased to announce that @guadalupe__maravilla is included in the 61st International Art Exhibition of @labiennale di Venezia by Koyo Kouoh. 

The exhibition, “In Minor Keys,” stands as a collective score composed together with artists who have built universes of imagination. Artists who work at the boundaries of form, and whose practices can be thought of as intricate melodies to be heard both collectively and on their own terms. These are artists whose practices seamlessly bleed into society.

Of the artist’s presentation at La Biennale di Venezia, Alex Klein, Head Curator and Director of Curatorial Affairs at @contemporaryatx, writes, “In the current political climate, there is a heightened tension within Maravilla’s work between the metaphorical disease of xenophobia and the real physical toll it takes on the living. In the face of polarising state violence, Maravilla attunes us to our bodies and to each other, offering his sonic balm as a vehicle for introspection and collectivity.”

“In Minor Keys” will be on view May 9 - November 22, 2026 at the Giardini, the Arsenale, and various venues in Venice.

📷: Installation view of “In Minor Keys”

In partnership with the Brooklyn Museum, Erin M. Riley’s new limited editions “Somebody Cares” and “Disappearing Messages” drop tomorrow. The prints will be released tomorrow at 10am EST to newsletter subscribers, and to the public at 1pm EST at artforchange.com.

These works offer a window into @erinmriley intimate visual language—an invitation to engage with each piece through a more personal, considered lens. With only a limited number available, each one reveals more the longer you look.

💌 Join our newsletter to secure your print before the public release.

ART FOR CHANGE will donate $500 from each print sold to the Brooklyn Museum, to help the institution fulfill its mission to be a home for inspiring art and courageous conversations. Artists receive 50% of net proceeds from each sale.

Video Courtesy of @jromeroromero

Erin M. Riley is represented by @ppowgallery

#artforchange #ErinRiley #brooklynmuseum #BKArtistsBall

“Martin Wong: Popeye” is highlighted in @dazed’s round-up of “Art shows to leave the house for in May 2026.”

@Ashleighkane writes, “Late Chinese-American painter #MartinWong’s ‘Popeye’ centres on a rarely seen body of work where the famed cartoon sailor becomes a recurring cypher, pulled through Wong’s wider visual language of text, symbol, and subculture. Nine motorised Popeye sculptures anchor the show, looping somewhere between shrine and spectacle, cartoon, and totem. Around them, drawings and paintings trace Wong’s long-standing fascination with comic books, tattoo iconography, and vernacular image-making, where “low” and “high” collapse into the same register.”

Click the link in our bio to read the full article, and check out the exhibition at 392 Broadway through May 30.

#Repost • @guadalupe__maravilla will be hosting four sound ceremonies at @labiennale in conjunction with the opening Friday, May 8 and Saturday, May 9.

Through gongs, voice, dance and percussion, #GuadalupeMaravilla, in collaboration with Fanny Pérez and Hilary Ramos, will create a space where sound becomes medicine and vibration becomes care.

✨Friday, May 8
I. 10:30 AM
II. 3:30 PM — dedicated to the cancer community

✨Saturday, May 9
III. 11:30 AM
IV. 5:30 PM — dedicated to the cancer community

📍 Arsenale — Giardino delle Vergini

No sign-up.
First come, first held.

A limited number of mats will be available.
You are welcome to bring your own.
Each ceremony is around 1hour long.

*Cancer community — those living with cancer, survivors, and anyone who has loved someone through it.

#Repost • @guadalupe__maravilla will be hosting four sound ceremonies at @labiennale in conjunction with the opening Friday, May 8 and Saturday, May 9.

Through gongs, voice, dance and percussion, #GuadalupeMaravilla, in collaboration with Fanny Pérez and Hilary Ramos, will create a space where sound becomes medicine and vibration becomes care.

✨Friday, May 8
I. 10:30 AM
II. 3:30 PM — dedicated to the cancer community

✨Saturday, May 9
III. 11:30 AM
IV. 5:30 PM — dedicated to the cancer community

📍 Arsenale — Giardino delle Vergini

No sign-up.
First come, first held.

A limited number of mats will be available.
You are welcome to bring your own.
Each ceremony is around 1hour long.

*Cancer community — those living with cancer, survivors, and anyone who has loved someone through it.

#Repost • @guadalupe__maravilla will be hosting four sound ceremonies at @labiennale in conjunction with the opening Friday, May 8 and Saturday, May 9.

Through gongs, voice, dance and percussion, #GuadalupeMaravilla, in collaboration with Fanny Pérez and Hilary Ramos, will create a space where sound becomes medicine and vibration becomes care.

✨Friday, May 8
I. 10:30 AM
II. 3:30 PM — dedicated to the cancer community

✨Saturday, May 9
III. 11:30 AM
IV. 5:30 PM — dedicated to the cancer community

📍 Arsenale — Giardino delle Vergini

No sign-up.
First come, first held.

A limited number of mats will be available.
You are welcome to bring your own.
Each ceremony is around 1hour long.

*Cancer community — those living with cancer, survivors, and anyone who has loved someone through it.

#Repost • @guadalupe__maravilla will be hosting four sound ceremonies at @labiennale in conjunction with the opening Friday, May 8 and Saturday, May 9.

Through gongs, voice, dance and percussion, #GuadalupeMaravilla, in collaboration with Fanny Pérez and Hilary Ramos, will create a space where sound becomes medicine and vibration becomes care.

✨Friday, May 8
I. 10:30 AM
II. 3:30 PM — dedicated to the cancer community

✨Saturday, May 9
III. 11:30 AM
IV. 5:30 PM — dedicated to the cancer community

📍 Arsenale — Giardino delle Vergini

No sign-up.
First come, first held.

A limited number of mats will be available.
You are welcome to bring your own.
Each ceremony is around 1hour long.

*Cancer community — those living with cancer, survivors, and anyone who has loved someone through it.

#Repost • @guadalupe__maravilla will be hosting four sound ceremonies at @labiennale in conjunction with the opening Friday, May 8 and Saturday, May 9.

Through gongs, voice, dance and percussion, #GuadalupeMaravilla, in collaboration with Fanny Pérez and Hilary Ramos, will create a space where sound becomes medicine and vibration becomes care.

✨Friday, May 8
I. 10:30 AM
II. 3:30 PM — dedicated to the cancer community

✨Saturday, May 9
III. 11:30 AM
IV. 5:30 PM — dedicated to the cancer community

📍 Arsenale — Giardino delle Vergini

No sign-up.
First come, first held.

A limited number of mats will be available.
You are welcome to bring your own.
Each ceremony is around 1hour long.

*Cancer community — those living with cancer, survivors, and anyone who has loved someone through it.

@yuuu_jiii’s recent solo exhibition “Origin of the Tiger” is reviewed by @dionysus.in.modernity in the latest issue of @artreview_magazine.

“Yu Ji’s solo exhibition brings together a suite of sculptures made following a residency the artist set up in Phnom Penh that offered art education to children,” writes Deng. Continuing “What was anarchic about learning alongside children as equals – the abdication of mastery, the surrender to an intelligence not yet calcified into expertise – is left to conjecture in ‘Origin of the Tiger,’ a show that is more persuasive as a map of interpretive inequality, one that attunes us to who is granted passage, what survives transit and what the whimsy of an installation of residues forecloses.”

Check out the full article in the April/May Issue of ArtReview, available now.

“Pilot Light” opens today, May 2, at 390 Broadway, 2nd Floor.

Curated by @geraldlovell, the exhibition features new and recent works by @breandy, @cvsreceipt, #GeraldLovell, @devinnmorris, @nickolapottinger, @talwst, and @taytheism. Spanning painting, sculpture, and multi-media installation, “Pilot Light” is shaped, not by spectacle, but by endurance: the slow, persistent force of faith, practice, and resiliency. In an art world where diversity can become a passing trend and visibility is often confused with care, the exhibition insists on another measure of value outside the demands of immediacy, legibility, and consumption.

Join us tonight, 6-8pm, for the opening reception of “Pilot Light,” on view through June 6.

“Pilot Light” opens today, May 2, at 390 Broadway, 2nd Floor.

Curated by @geraldlovell, the exhibition features new and recent works by @breandy, @cvsreceipt, #GeraldLovell, @devinnmorris, @nickolapottinger, @talwst, and @taytheism. Spanning painting, sculpture, and multi-media installation, “Pilot Light” is shaped, not by spectacle, but by endurance: the slow, persistent force of faith, practice, and resiliency. In an art world where diversity can become a passing trend and visibility is often confused with care, the exhibition insists on another measure of value outside the demands of immediacy, legibility, and consumption.

Join us tonight, 6-8pm, for the opening reception of “Pilot Light,” on view through June 6.

“Pilot Light” opens today, May 2, at 390 Broadway, 2nd Floor.

Curated by @geraldlovell, the exhibition features new and recent works by @breandy, @cvsreceipt, #GeraldLovell, @devinnmorris, @nickolapottinger, @talwst, and @taytheism. Spanning painting, sculpture, and multi-media installation, “Pilot Light” is shaped, not by spectacle, but by endurance: the slow, persistent force of faith, practice, and resiliency. In an art world where diversity can become a passing trend and visibility is often confused with care, the exhibition insists on another measure of value outside the demands of immediacy, legibility, and consumption.

Join us tonight, 6-8pm, for the opening reception of “Pilot Light,” on view through June 6.

“Did any artist paint bricks with as much affection as Martin Wong did? It’s doubtful.” writes Max Lakin in his review of “Martin Wong: Popeye” for @nytimes. “To Wong, who made much of the art he is known for while living among the derelict red brick tenement buildings of Manhattan’s Lower East Side of the late 1970s and ’80s, bricks were both humble and magisterial, as sumptuous as marble was to Bernini and as endlessly pliable.”

“Bricks are usually the backdrop to Wong’s high-low aesthetic obsessions: American comics and Asian religious art, tattoo subculture and gay desire,” Lakin continues. “Here he finally united all of his preoccupations, treating brick as both skin and body art of a syndicated cartoon sailor, an icon of Americana and the most fetishized of all servicemen, mobilized into his own eroticized Terracotta Army. For Wong, the brick was a formalist wink that’s even flatter than Jasper Johns’s American flags and doubly as impenetrable. More than 25 years after Wong’s death, we’re still trying to get in.”

Click the link in our bio to read the full review, and don’t miss “#MartinWong: Popeye” on view at 392 Broadway through May 30.

📷: Martin Wong, “Untitled (Brick Pop-eye),” c. 1982-89, acrylic on canvas, 59 x 47 ins.