Jerry Kearns: Complicit at Frosch & Co Gallery
Review of Jerry Kearns’s Complicit at Frosch & Co Gallery, examining authoritarianism, American consumer culture, ICE imagery, Pop aesthetics, and political painting in contemporary art.
無盡之衣：大西洋船廠篇
本文聚焦于纽约先锋艺术空间 Pioneer Works 举办的展览 The Endless Garment: Atlantic Basin，从批判视角分析亚洲离散语境下，劳动、迁移与纺织经济之间的复杂关联。文章进一步探讨策展框架如何影响作品的历史语境与意义生成，并揭示在全球化艺术体系中，文化身份与生产结构之间的张力与重构。
The Endless Garment: Atlantic Basin
A critical review of The Endless Garment: Atlantic Basin at Pioneer Works, For Ines Magazina, Wei Huang , examining how labor, migration, and textile economies intersect with diasporic identity—and how curatorial framing shapes their legibility.
Projecting Democracy: Michele Pred y la política feminista del objeto
Este ensayo de Yohanna Magdalene Roa analiza la exposición Projecting Democracy de Michele Pred presentada en Nancy Hoffman Gallery. A través de objetos cotidianos —carteras vintage, quilts, objetos confiscados en aeropuertos y proyecciones sobre arquitectura pública— la artista examina las tensiones entre lo doméstico y lo político. El texto aborda cómo estas obras activan debates sobre feminismo, autonomía corporal, derechos humanos y las formas en que los objetos ordinarios pueden convertirse en dispositivos críticos dentro del arte contemporáneo.
The Politics of the Object in Michele Pred’s Work
Projecting Democracy: Michele Pred and the Feminist Politics of the Object — Essay by Yohanna Magdalene Roa for INES_Magazina on Michele Pred’s exhibition at Nancy Hoffman Gallery. The article examines how Pred uses everyday objects—vintage purses, quilts, confiscated airport items, and architectural projections—to address feminism, human rights, bodily autonomy, and the intersection of domestic space and political power in contemporary art.
Insight: Emily Blair Quinn at 5-50 Gallery NYC
This review examines Emily Blair Quinn’s exhibition at 5-50 Gallery, focusing on her paintings, resin sculptures, and photographs that reinterpret vintage porcelain figurines through a contemporary feminist lens. Drawing on Gilded Age aesthetics and themes of gender norms, beauty standards, and female subjectivity, Quinn transforms decorative statuary into psychologically charged narratives. The exhibition critiques historical and contemporary constructions of femininity, including the impact of social media and AI-driven beauty culture, presenting a cohesive body of work grounded in feminist aesthetics and material experimentation.
La Rebelión Traviesa
Mia Westerlund Roosen en Nunu Fine Art, New York Por Yohanna Magdalene Roa Al entrar a la galería de Nunu Fine Art para visitar la exposición de Mia Westerlund Roosen, la experiencia fue la de atravesar un conjunto de piezas escultóricas-espaciales marcadas por una tensión monumental entre la carne y la verticalidad, entre lo humano […]
The Naughty Rebellion
A critical essay on Mia Westerlund Roosen’s exhibition at Nunu Fine Art, New York, reading sculpture through flesh, materiality, dance, and Sor Juana Inés de la Cruz’s Primero sueño.
Jeanne Jaffe: Becoming Hybrid, Emilio Martinez: Freedom From Fear. At L’Space
Art critic Dominick Lombardi explores the compelling dialogue between Jeanne Jaffe and Emilio Martinez at L’Space, where hybrid bodies, faith, migration, humor, and resistance converge into two distinct yet deeply connected artistic worlds.
Happy Birthday Antonio Caro. (1950 – 2021)
A tribute essay to Antonio Caro (1950–2021) by Yohanna M. Roa, revisiting the 2014 postcard book published by Fundación Humana Integral and the exhibition Caro es de Todos. A reflection on his lasting relevance, conceptual rigor, and influence on Latin American visual culture.