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09/23/2026

Empire Safe & Vault has been hiding in plain sight in Midtown East for years, guarding a little-known chapter of art history. Owner Richard Krasilovsky’s collection includes a hound-dog-shaped safe by Red Grooms, one of several works he commissioned in 1981 after asking the dealer Ivan Karp to introduce him to local artists. The finished pieces were shown together in “Combinations,” an exhibition staged at Empire’s old downtown storefront. In this video, Artforum editor Olivia Kan-Sperling visits the shop to crack open its history with Krasilovsky, a man who’s devoted his life to keeping New York safe and an admirer of the SoHo art scene he once lived alongside.

Read more about Empire Safe & Vault at the link in bio.

Empire Safe & Vault Richard Krasilovsky Olivia Kan-Sperling Suzanne Slesin

An animatronic sculpture convulses on the floor, ants crawl through gallery walls, crabs and anemones sway in an aquariu...
09/23/2026

An animatronic sculpture convulses on the floor, ants crawl through gallery walls, crabs and anemones sway in an aquarium. At Fondation Beyeler, Pierre Huyghe has turned an exhibition space into what critic André Rottmann calls a “self-interrupting breathing organism.” Writing in Artforum’s September issue, Rottmann considers what becomes of the human unconscious in a post-human world. What does AI dream of?

Read the full review here: https://www.artforum.com/events/pierre-huyghe-fondation-beyeler-review-andre-rottmann-1234758449/

Images:
–Pierre Huyghe, Idiom, 2024–, real time voice generated by neural network, golden LED screen mask. Installation view. Fondation Beyeler, Basel, 2026. Photo: Ola Rindal. All Pierre Huyghe works © Pierre Huyghe, represented by ProLitteris (CH)/ADAGP (FR).
–Pierre Huyghe, Alchimia, 2026, soft robotics, silicone, sound, control unit. Installation view.
–Pierre Huyghe, Apnea, 2026, aquarium, soft robotics, silicone, mineral cast landscape, floating rock, sound, control unit, ventilation system, holes in walls, switchable glass. Installation view.
–Pierre Huyghe, Adversary, 2026, aluminum cast, 11′ 5 3⁄4″ × 11′ 5 3⁄4″ × 2 3⁄4″. Photo: Ola Rindal.
–Claude Cahun, I Extend My Arms, 1931 or 1932, gelatin silver print, 8 × 57 ⁄8″.
–Pierre Huyghe, Camata, 2024, still from the HD video component (color, sound, continuous self-directed film edited in real time by artificial intelligence) of a mixed-media installation additionally comprising machine learning driven robotics and sensors.
–View of “Pierre Huyghe,” 2026. Ceiling: L’hésitant, 2026. Performer: Idiom, 2024–.

09/22/2026

“Arthur Jafa: I Am Tony” New Museum, on view from September 24 through January 3, 2027.

Arthur Jafa

A father sings about having killed his family. A boy hanging from a noose yodels and keeps himself spinning. Two animatr...
09/21/2026

A father sings about having killed his family. A boy hanging from a noose yodels and keeps himself spinning. Two animatronic moles recite an endless calculation while their pups sleep. In a sneak preview from Artforum’s October issue, Matthew McLean explores the “Beckettian collapse of slapstick and sadism” in Diego Marcon’s films, ahead of the September 24 opening of “Diego Marcon: Arrivederci, Piggies!” at the New Museum—his first solo museum exhibition in New York City.

Read the full essay here: https://www.artforum.com/features/mclean-marcon-1234759246/

Images:
–Diego Marcon, Ludwig, 2018, digital video, CGI animation, color, sound,
8 minutes. Installation view, Teatro Gerolamo, Milan, 2023. Photo: Andrea Rossetti.
––Diego Marcon, Ludwig, 2018, digital video, CGI animation, color, sound, 8 minutes 14 seconds.
–Diego Marcon, The Parents’ Room, 2021, 35 mm transferred to digital video, CGI animation, color, sound, 6 minutes 23 seconds.
–Diego Marcon, La Gola, 2024, 35 mm transferred to digital video, CGI animation, color, 22 minutes 22 seconds.
–Diego Marcon, Il malatino (The Little Sick Boy), 2017, 16 mm, color, silent, 23 seconds.
–Diego Marcon, Fritz, 2024, digital video, CGI animation, color, sound, 12 minutes, 30
seconds. Installation view, Complesso dell’ Ospedaletto, Venice. Photo: Andrea Rossetti.
–Diego Marcon, Krapfen, 2025, digital video, CGI animation, color, sound, 4 minutes 44 seconds.
–Diego Marcon, Krapfen, 2025, digital video, CGI animation, color, sound, 4 minutes 44 seconds. Installation view, Renaissance Society, Chicago. Photo: Bob.
marcon

Long before she became the cultural theorist we know today, Catherine Liu contributed regular dispatches from the ’90s d...
09/21/2026

Long before she became the cultural theorist we know today, Catherine Liu contributed regular dispatches from the ’90s downtown New York gallery scene for Artforum. These reviews covered exhibitions by Larry Clark, Hannah Wilke, Larry Johnson, and Sturtevant, cataloguing a generation of subversive, media-focused, “posteverything” artists.

In a review from the magazine’s April 1992 issue, Liu examined the group show “Just Pathetic” at Colin de Land’s American Fine Arts gallery, an exhibition that took artistic strategies of diminution and feebleness as its curatorial conceit. For Liu, “the pathetic fails because it cannot stand up to the intensity of the sublime . . . failure is more interesting than success simply because it is more variable and multiple.” Despite appreciating works by Georg Herold, Jeffrey Vallance, and Mike Kelley, Liu took aim at curator Ralph Rugoff’s conflation of the pathetic with “failures of masculinity” and cynical invocations of helplessness and disability. Despite her critiques, Liu ultimately praised the show’s “exploration of an esthetic of decrepitude and abjection . . . as intense positivities.” Liu’s more recent writing examining the social and psychological implications of trauma echoes her concerns for the politicization of the pathetic in the review, offering a brief yet valuable moment of comparison across the writer’s multifaceted output.

Read here: https://www.artforum.com/events/just-pathetic-217036/



For Artforum’s latest “Field Notes” column, editors Theo Belci and Alex Jovanovich hit the town in two essays covering t...
09/19/2026

For Artforum’s latest “Field Notes” column, editors Theo Belci and Alex Jovanovich hit the town in two essays covering the inaugural weekend of New York’s fall gallery shows. The duo cover more than a dozen exhibitions across Chelsea, TriBeCa, Chinatown, and the Upper East Side, contrasting the general bedlam of opening season against the “maudlin overtones” predominant in most work on display.

Read the two-part review here:
–https://www.artforum.com/columns/from-a-to-t-andback-again-openings-part-one-1234759385/
–https://www.artforum.com/columns/from-a-to-t-back-again-openings-part-two-theo-belci-1234759417/

Images:
–View of “Christopher K. Ho: Waterloo!,” 2026.
–Unglee, Alix Cléo Roubaud n° 2, 1981-2024, gelatin silver print, 9 1/2″ × 11 3/4″.
–View of “Michael E. Smith,” 2026. Photo: Maxwell Graham.
–Kelsey Isaacs, Cupid, 2026, oil on aluminum, 16 × 26″.
–Joe Mama-Nitzberg, Tears are Not Enough, 2024, found and made objects, framed archival inkjet print, 48 x 36” Photo: Luhring Augustine.
–Pablo Bronstein, Rusticated Arch, 2026, acrylic on paper, 31 1/8 x 41 3/4". Photo: Olney Gleason.
–Richard "Prophet" Jennings, Wired, 1979, oil on canvas, 22 1/5 x 26 1/2＂. Photo: Ceysson & Bénétière.

Conceptual art, gay s*x, Watergate, and glam rock: The 1970s letters of American sculptor Scott Burton and Argentine Con...
09/18/2026

Conceptual art, gay s*x, Watergate, and glam rock: The 1970s letters of American sculptor Scott Burton and Argentine Conceptual artist Eduardo Costa are by turns gossipy, tender, and unguarded. (“He may have been a prana sucker who cheated you on energy and of course talent,” Costa writes of Burton’s former lover.) In Artforum’s September issue, David J. Getsy introduces a 1973 exchange between the two, revealing how they sustained a friendship—and each other’s artistic ambitions—between New York and Buenos Aires.

Read the letters here: https://www.artforum.com/columns/david-j-getsy-scott-burton-eduardo-costa-1234757786/

Images:
–Eduardo Costa and Scott Burton, ca. 1969. Photo: Keith Balser.
–Page from a letter from Eduardo Costa to Scott Burton, 1971.
–Page from a letter from Scott Burton to Eduardo Costa, November 18, 1979.
–Eduardo Costa, Fashion Fiction No. I, 1967, wearable one-to-one-scale sculpture of a human ear in gold. From the series “Fashion Fictions,” 1966–2014. Worn by Marisa Berenson in “Beauty Bulletin,” two-page spread in Vogue, February 1, 1968. Photo: Richard Avedon.

On a sun-blasted afternoon in July, Artforum Reviews Editor Katherine Rochester stepped into the Morgan Library & Museum...
09/18/2026

On a sun-blasted afternoon in July, Artforum Reviews Editor Katherine Rochester stepped into the Morgan Library & Museum with psychic Terry Iacuzzo and artist Tony Oursler to see “Tarot! Renaissance Symbols, Modern Visions.” They were great company for the mantic arts: Iacuzzo comes from a family of psychics, while Oursler’s father founded a journal devoted to encounters with angels and his grandfather was a magician who worked with Harry Houdini. As they made their way through centuries of tarot, divination, and occult imagery, the two brought their own deeply personal histories with divination to the cards on display.

Read here: https://www.artforum.com/columns/rochester-iacuzzo-oursler-1234758698/

Images:
–Bea Nettles, The Mountain Dream Tarot – The Star, 1975, hand-painted gelatin silver print, 4 7/8 × 4″.
–From left to right: Tony Oursler and Terry Iacuzzo at the Morgan Library & Museum.
–Cards from Xul Solar’s (Oscar Agustín Alejandro Schulz Solari) tarot deck, 1954, watercolor and ink on cardboard, each dimensions variable.
–Bonifacio Bembo, Visconti-Sforza Tarot – Death, ca. 1456–58, tempera, gold and silver leaf on pasteboard, 6 3/4 × 3 3/8″.The Morgan Library & Museum
–André Breton, Paracelse. Mage de Connaissance – Serrure (Paracelsus. Magus of Knowledge – Lock), 1941, India ink and gouache on paper, laminated on paper, 9 3/8 × 5 3/8″. Designed for Jeu de Marseille (Game of Marseille), 1941. © Estate of Yves Tanguy/Artists Rights Society (ARS), New York.
–Attributed to Nicola di Maestro Antonio, Sola Busca Tarot – Ten of Swords, 1491, hand-colored engraving, 5 5/8 × 3 1/8″.
–Aleister Crowley and Lady Frieda Harris, Crowley Thoth Tarot Deck – The Hierophant, 1969.

What have Artforum critics been looking at lately? This week’s reviews roundup features five exhibitions across Istanbul...
09/17/2026

What have Artforum critics been looking at lately? This week’s reviews roundup features five exhibitions across Istanbul, London, New York, Sintra, and Tokyo. Tayfun Erdoğmuş compiles an archive of nature at Arter; At the Royal Drawing School, Frank Bowling uses painting as a machine; At the International Center for Photography, photographs capture how Yves Saint Laurent became a “stylish body rather than a mind intent on style”; Grada Kilomba’s survey exhibition at the Albuquerque Foundation asks how one inhabits space and time after displacement; and Hiroshi Sugimoto conjures a posthuman future at The National Museum of Modern Art, Tokyo.

Read here: https://www.artforum.com/t/reviews/

Images:
–Yves Saint Laurent, cocktail dresses known as “Homages to Pop Art,” Fall/Winter 1966 collection. Photo: Jean-Claude Sauer.
–Harry Meerson, Yves Saint Laurent, 1966, gelatin silver print.
–Hiroshi Sugimoto, Earliest Human Relatives, 1994, gelatin silver print, 47″ × 58 3/4″.
–Hiroshi Sugimoto, Caribbean Sea, Jamaica, 1980, gelatin silver print, 47″ × 58 3/4″.hiroshi sugimoto
–Tayfun Erdogmus, Untitled, 2024, handmade brass paper, dried plants, bronze, copper, silver, acrylic and chemical solutions on canvas 16 7/8″ × 24″.
–View of “Tayfun Erdogmus: Atlas 1/137.035999,” 2026. Wall: Untitled (Natura), 2004–24. Photo: Orhan Cem Çetin.
–Frank Bowling, Swan II, 1964, oil on canvas, 44 1/8″ × 95 5/8″. © Frank Bowling Foundation.
–Frank Bowling, Swan: Geometric Observation 2, 1965, oil medium, pen and pastel on paper, 22 1/2″ × 15 3/4″. © Frank Bowling
–Grada Kilomba, Storyteller, 2026, diptych, inkjet print on fine art paper mounted on Alu-Dibond, 59″ × 35″. Installation view. Photo: Bruno Lopes.
–Grada Kilomba, 18 Verses, 2022, 18 charcoaled wooden pieces, gold leaf, fabric, sound, dimensions variable. Installation view. Photo: Bruno Lopes.

.keke .kilomba

09/17/2026

“Taryn Simon: Father Country I Do Love You” Guggenheim New York, on view from September 18 through March 14, 2027.

Taryn Simon

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