I hope you enjoyed our satirical April Fools’ edition yesterday. Don't worry, none of those stories were real, though you never know these days.
| I hope you enjoyed our satirical April Fools’ edition yesterday. Don’t worry, none of those stories were real, though you never know these days. Today in the real news, dozens of workers at the Institute of Museum of Library Services are put on leave after President Trump takes the axe to the federal agency, leaving cultural funding in limbo. Meanwhile, a 7.7-magnitude earthquake in Myanmar devastates cultural heritage sites, and veteran Los Angeles painter Joe Goode passes away just a day before his 88th birthday. Also, check out our list of art shows to see in New York City, plus reviews of Luis Fernando Benedit, Rebecca Purdum, a group show on the symbolism of the rose, and much more. Finally, we’re pleased to announce that we’ve partnered with the Ford Foundation on a series of articles, written by critic Seph Rodney, highlighting the work of museums and organizations across the country that have made a significant impact on the cultural landscape of the United States. The first installment of America’s Cultural Treasures features the Japanese American National Museum in LA. We hope you enjoy it. — Hakim Bishara, Senior Editor | | |
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| You’re currently a free subscriber to Hyperallergic. To support our independent arts journalism, please consider joining us as a member. | | Become a Member |
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| | Processing of 2025 grant applications has been halted after Trump moved to dismantle the Institute of Museum and Library Services.| Maya Pontone |
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SPONSORED | | | Join Artlogic live on April 11 for expert insights into the 2025 Art Basel & UBS Art Market Report. Clare McAndrew, Daniel Cassady, and Wendy Olsoff will explore key market trends, economic shifts, and collector behavior to help you navigate the year ahead.
Register now
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LATEST IN ART | | | The exhibitions below, featuring such artists as Deborah-Joyce Holman and Luis Fernando Benedit, ask viewers to spend time with art that’s slower to reveal itself. | Natalie Haddad, Lisa Yin Zhang, Debra Brehmer, Alexis Clements, and Alexandra M. Thomas |
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SPONSORED | | | | | Located in the heart of LA’s Little Tokyo neighborhood, the museum embraces the Japanese-American experience in all its permutations, including aspects that other persecuted and marginalized communities can recognize. Learn more |
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| | Purdum’s layered and scraped-away paintings may resemble aspects of the natural world but they allude to an experience beyond language. | John Yau |
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| | | The artist’s bioart habitats eerily reflect human environments where sociopolitical and socioeconomic cultural conditions force the illusion of standardization as a natural state. | Natalie Haddad |
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| | | The injunction of a group show centered around the multivalent flower is to wander the field and pluck what suits you. | Lisa Yin Zhang |
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| | | Exposure at Ulterior Gallery might not offer the quick answers our ever-shrinking attention spans demand, but much in this show is worth a second view. | Alexis Clements |
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FROM THE ARCHIVE | | | Drawing on Blue provides a glimpse into the genesis of the tinted paper as a new vehicle for expression in European art. | Sarah Rose Sharp |
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MEMBER COMMENTS | | Rodney Greenblat on “Could Hilma af Klint’s Works Be Removed From Public View?” | | Thanks Rhea for this reporting. I say give Hilma her own temple gallery. Set it up exactly as Hilma instructed. Allow entry to those who understand something about Hilma’s spirituality. No photos, no gift shop, no licensing. Let her artwork sing to those who truly care. | | Melanie Cohn on “Could Hilma af Klint’s Works Be Removed From Public View?” | | I agree with RodneyAG. To stay true to it, the artist’s vision should be followed. Part of the point of her work was not to take part in the world of material things, and to focus on the spiritual. Counterintuitively, sequestering her work in its own spiritual space may make it far more popular than letting the market make it another good to be bought and sold. |
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| You’re currently a free subscriber to Hyperallergic. To support our independent arts journalism, please consider joining us as a member. | | Become a Member |
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