Monday, August 31, 2026

What They Said: August 2026


“When there are political problems, Morocco opens the doors and tells us to go,” said 24-year-old Ajoub el-Arrot, one of 50,000 migrants who crossed the border into a small Spanish town in less than 48 hours, seeking a better life in Europe.  

“I watch the History Channel like most guys watch Pornhub,” Bill Maher, winner of the 2026 Mark Twain Prize for American Humor, said.  (New York Times, August 2)

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“A lot of our churches are turning into beautiful museums,” said Justin Lester,  pastor of San Francisco's Friendship Baptist Church, who created an AI duplicate of himself. “We’re living in the future, whether we like it or not. We can’t afford to sit this one out.”  

“I always said that there is no moral test to be in the Portrait Gallery,” said Kim Sajet, former director of the Smithsonian museum. 

“Some of the themes in Brand New Day [the latest Spiderman film which greatly exceeded box office expectations on opening weekend] that stoke Gen Z include mental health challenges, loneliness and being unseen by the ones you love,” said Greg Durkin, the founder of Enact Insight, an entertainment research firm. (New York Times, August 3)

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“It’s the visible lack of [immigration] control that’s the problem,” said Sunder Katwala, the director of British Future, a London institute that focuses on integration and identity. “That will resonate with the core audience of the populist parties.”  (New York Times, August 4)

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“It’s a currency where you have no instinct to know what you’re using, and the accounting practices aren’t even there for it,” said Howard Rubin, an economist who advises companies on technology spending. “The A.I. stuff is being treated as an investment right now, but it’s a risky investment in case it has no return.”  

“In many ways, Trump represents the epitome of America’s frustrations with Iran,” said Kenneth Pollack, a former C.I.A. analyst and National Security Council official who has studied the country for decades. “He has been both the most desirous of making a deal with Iran, and the one who used the most force against it. He has found that neither got him what he wanted.”

“Twenty is plenty for urban streets, whether you’re on a bike or driving an S.U.V.,” said Ben Furnas, the executive director of Transportation Alternatives, a safe-streets advocacy group.   (New York Times, August 5)

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“People have been telling us that some of the bears are not spending as much, because they’re trying to lose weight,” said Steve August, a visitor to Provincetown during "Bear Week"--and the Ozempic era. “We have a friend who has a cupcake shop and they are ordering the small cupcakes and not the big cupcakes.”  (New York Times, August 5)

*  *  *  *  *

“Is there some cultural change in the way people are parenting?” asked Lawrence Katz, a labor economist at Harvard, referring to college graduates who are returning home in greater numbers after graduation. “You see kids today and the degree to which they’re interacting with parents, that’s completely different than the world of 50 years ago, 25 years ago.” 

“I’m afraid that this kind of woman [Martha Stewart, Liza Minnelli, Isabella Rossellini and Marlene Dietrich] doesn’t exist anymore,” the actress Greta Lee said.  “It’s this very strong presence and force that is really unburdened by the considerations of social media and these sort of more earthly concerns of the internet.”  (New York Times, August 9)

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“She’s happy, you can tell,” said Zane Kesey, 65, son of Ken, whose Day-Glo-painted Merry Prankster bus will return to San Francisco for the first time since 1969 for exhibition in Golden Gate Park.  “She’s thrilled to have people talking about her, paying attention to her and all that she meant.”  

“I can tell you as someone who has frequently had Black mayors on my show, it is rare for non-Black American mayors to want to be this vocal in communicating with Black-owned media,” said Roland Martin, a political commentator who hosted Mayor Zohran Mamdani on his YouTube channel more than once.  

“I have been following traffic to Truth Social for years, and I am really struck by the steepness of the plunge [36% fewer monthly visitors this year compared to last year],” said Howard Polskin, who publishes a newsletter which tracks the right-wing news media. “When you think of how much Trump uses Truth Social as a megaphone you would think the numbers would be skyrocketing.”  

“It’s the classic generational reaction: If your boss comes in wearing sneakers, the natural reaction is to do something different,” said Ben Kriz, a men’s fashion writer who has begun wearing loafers to work, like many of his peers. “It’s like what happened with jeans.”  (New York Times, August 11)

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“Now real life isn’t a movie, but given the circumstances, I’m not sure I could ever script a moment like that for a heroic main character,” Hollywood screenwriter Andrew W. Marlow said about the recent use of Air Force One as a decoy for President Trump by the Secret Service on a flight from Ankara to London. “If the threat were that great, it’s hard to imagine the audience rooting for any character who would trade his own safety by treating the remaining civilians onboard as potential sacrificial lambs, especially without their informed consent.”   

“We’re not allowing children to learn that they’re both physically and psychologically tough,” said Peter Gray, a research professor of psychology and neuroscience at Boston College and the author of the forthcoming book, Restoring Childhood: How to Set Kids Free in the Age of Anxiety. “We assume they’re fragile and it becomes a self-fulfilling prophecy,” he said.  (New York Times, August 13)

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“All the single left-wing men in this city are about to line up nightly for dinner in her district until [Alexndria Ocasio-Cortez]  picks one like the suitors in The OdysseyAsad Dandia, a Brooklyn-based community organizer, wrote on X, after it was revealed the New York City Congressional representative was now single.  (New York Times, August 14)

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“That’s what it is to be a Jew, in some ways,” said Henry Stern, a California state senator who introduced a bill that would include an optional box for Jewish ethnicity on all demographic data forms, from college applications to public assistance programs. “Being really comfortable with tension, and being comfortable with paradoxes, and understanding that we’re a people, we’re a nation, we’re an ethnicity, we are a religion, too. We don’t fit naturally. And that’s why we’re such a pain.”  (New York Times, August 15)

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“The canal stands as one of my proudest battles, no question, but greatness is a strange thing,” an A.I. Teddy Roosevelt responded at the new presidential library in North Dakota's Badlands when asked by President Trump at its opening if the Panama Canal was his greatest achievement. “I measure my greatest work by the lives improved, parks set aside, food and drugs made safe, the square deal given to all, not just to a few.”  

“In the car with my mother as a child, this lady [Shania Twain] taught me to sing. She also taught me that men are trash,” Harry Styles told the crowd at Coachella before introducing her during his 2022 set.  (New York Times, August 16)

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“[New York Harbor has] become a free-for-all,” said Roland Rexha, secretary-treasurer of the Marine Engineers Beneficial Association, an international union. "You have everything from bootleg mariners to jet skis and people in canoes out there cutting in front of the Staten Island Ferry. And they just don’t realize that the ferry is not a car that can just stop on a dime.”  (New York Times, August 17)

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“She just couldn’t believe it that there were these stuffy Washington wives who were denying artistic freedom to musicians,” Rage-Against-the-Machine frontman Thom Morello said of his mother, Mary, who founded Parents for Rock and Rap in 1987. “When I was growing up, there was a lot of Kiss and Alice Cooper being played in the house, and she realized that it was not corrupting my soul.”  (New York Times, August 18)

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"We teachers must remain students — and model what we want to see," writes Matt Dinan, the director of the great books program at St. Thomas University in New Brunswick. We need to recover the passion that drove us to our books, to the lab. We need to embody love of learning for its own sake against the pervasive message that higher education should be vocational, and we need to clarify the basic questions that make our subjects worth studying.  (New York Times, August 19)

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“Memory fades after three generations,” said Thomas Bagger, the German ambassador to Italy. “Even the Holocaust does not resonate as it once did, and nor does the imperative of integration in Europe.” 

“If the next couple of years are dry, the risk to Colorado River water users is extraordinary,” said Jennifer Pitt, who directs the Colorado River Program at the National Audubon Society. “There is no buffer to rely on anymore.”  

“What [Henry] Flagler did with a raw landscape 100 years ago, [developer Stephen] Ross is trying to do with a raw, largely undeveloped business landscape [in West Palm Beach],” said Lester Standiford, a professor at Florida International University.  “I see him engaged in an equal kind of pioneering effort.”

“There has always been this aura here, this magical thinking,” said Leo Braudy, a Los Angeles cultural historian and the author of The Frenzy of Renown: Fame and Its History. “Everybody thinks, ‘I’m beautiful,’ or ‘I’m handsome.’ Everybody thinks, ‘If those people can make it in Hollywood, so can I.’”(New York Times, August 23)

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“[The data center issue] absolutely shakes up the snow globe on the partisan coalitions in a part of the world where Republicans have been dominant,” said Zac McCrary, a Democratic pollster. “It’s one of the few issues today that does not immediately code as red or blue, left or right.”  

“Every candidate in 2028 will have their own cooked poll factory,” said Lis Smith, a Democratic strategist. “Polls now are not just a way of measuring the horse race. It’s a way for candidates and their allies to influence the horse race.”

“The point of life, I think, is to make the world better for your family, your community, for humanity,” said Ezekiel Emanuel, MD who served as a health policy adviser in the Obama administration and is a critic of the modern wellness industry. “We’re here for a short time, and it’s not all about us.”  (New York Times, August 24)

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"French, in Canada, is not a business matter," writes Stephen Marche.  "Its place in our nation transcends absolutely any market-based consideration. It is not something that gets put on the table."  (New York Times, August 25)

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“Songwriting is my way of channeling my feelings and my thoughts, said Dolly Parton. "Not just mine, but the things I see, the people I care about. My head would explode if I didn’t get some of that stuff out. Not everything I write is good, but it’s all good for me — like therapy.”  (New York Times, August 26)

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“They are threatening to shut down the Southwest,” Brenda Burman, the general manager of the Central Arizona Project said of a longstanding federal agreement  to ration Colorado River water flow. “It’s not possible to picture it.”

“I guarantee you, if it matters, that I have experienced true love, true heartbreak and everything in between, including no small amount of wreckage,” wrote Tim Curry, who refused to discuss his private life, in his 2025 memoir, Vagabond. “Which, naturally, helps inform who I am. I have loved and been loved and I hope you have, too. But I’m not interested in your romances.”  (New York Times, August 27)

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“Whether it was in a big law firm or on Wall Street, where he and I grew up, or here in politics, you realize there are certain guys out there who think gay guys are weak and you have to disabuse them of that notion,” said Sean Patrick Maloney, a former Democratic congressman from New York, who is gay. “And sometimes that means getting in their face and telling them to go fuck themselves. And Scott [Bessent] can do that with the best of them.” 

“Bring on Picasso, bring on Matisse,” Yayoi Kusama wrote in her autobiography. “Bring on anybody! I would stand up to them all with a single polka dot. That was the way I saw it. I was betting everything on this and raising my revolutionary banner against all of history.”(New York Times, August 28)

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“Next they’ll be calling Canada geese ‘Donald ducks,’” said David Hedley, the fourth-generation owner of Hedley Boatyard in Olcott on the shores of Lake Ontario.

“By centering Galliano,” said David Ingber, the senior director for Jewish life and senior director of the Bronfman Center at 92NY and the founding rabbi of the Romemu synagogue, “the Met has put the Jewish community in a no-win position. Either we are blamed for being overly sensitive and not allowing him to be honored or we are complicit. The question is not whether they can do this, but whether they should have.”  

“The logo of the Beverly Hills Hotel is in his handwriting, but [architect Paul Williams] couldn’t walk into the front door there,” said LeRonn P. Brooks, who leads the African American Art History Initiative at the Getty Research Institute. “He even kept his hands in his pockets when walking through construction sites, because he knew some construction workers wouldn’t want to shake his hand.” 

 “[Renee Richards' playing] didn’t destroy women’s tennis and it didn’t lead to a generation of guys at a later time who couldn’t quite make it in the N.B.A. suddenly playing as women,” Keith Olbermann told a biographer of a trans pioneer and ophthalmologist whom he consulted. “Boy, [people] made an awful big deal out of something that really did take care of itself.”  (New York Times, August 30)




Monday, August 17, 2026

Iggy: Open Up & Bleed (3*)


If you want to understand one of rock's greatest survivor stories, you'd do just as well to listen to "Nude and Rude," Iggy Pop's 1993 greatest hits collection as to wade through Paul Trynka's 300+ page biography of James Osterberg, Jr.  Even better, go see the 79-year-old "Godfather of Punk" in live performance before the coffin lid--a stage prop at Coachella earlier this year--closes on him for good.

Paul Trynka, a British music writer, thoroughly documents Osterberg's life until he hit 60, about the age Iggy was finally getting overdue recognition of his influence on music. Unfortunately, he makes the same mistake that Will Hermes did with Lou Reed:  all fact and little psychological insight ends up mostly exposing the guy as an asshole whose talent, while considerable and unique, doesn't quite redeem his overweening ambition.  

Thanks to his early gigs with the Stooges, recounted in stupefying detail, Osterberg--voted most likely to succeed in junior high school (!)--learned that bad behavior got him more attention than good.  Trynka compares the difference between his off-stage charm and intellect, and his occasionally bloody live performances to Dr. Jekyll and Mr. Hyde, but that still leaves readers wondering what makes the guy tick.    

Osterberg did give Trynka permission to interview his shrink who, by the end of the book, walks back his diagnosis of possible bipolarity, mostly because Iggy can dial up the manic energy for his shows and then revert to normal in between performances. Exhibitionism or BDE (big dick energy) may also have contributed to Iggy's "Real Wild Child" stage persona; despite repeated flashing of what Trynka describes as his "impressive" penis, he was never arrested, unlike Jim Morrison who may have given him the idea (Iggy:  Open Up and Bleed helpfully provides a photograph taken by Factory denizen Gerard Malanga, cropped below the waist for the cover of Nude and Rude so that the album could be sold in Middle America retail chains).

Osterberg's ego, addictions and womanizing (he liked 'em younger than legal in some cases, at a time when that mattered less) aren't particularly unusual in show business, but his relationship with his collaborators, always strained by the end, suggests that his childhood competitiveness left him more resistant than many of his peers to sharing the spotlight.  Trynka's book picks up some badly needed steam when the Thin White Duke throws him a career preserver in the mid-70s and whisks him off to Berlin where they record The Idiot and Lust for Lifethe twinned fonts of his best solo work as far as I'm concerned although Trynka goes a little overboard in his estimation:  

Not since van Gogh and Gauguin spent nine weeks together at the Yellow House in Arles had two artists of such stature, with such distinct styles, cooperated so closely, with such influential and fulfilling results. But where the two painters' creative winning streak had culminated in madness and breakdown, Bowie and Iggy's great, innovative work together would prove a healing process for two severely damaged individuals.

The unexplained healing--Trynka tells, rather than shows--lasts longer for Bowie than Iggy and the two eventually lose touch.  I'm guessing that had as much to do with Bowie's stabilizing marriage to Iman and fatherhood as Iggy's bruised ego and obsessive touring but Bowie remains the bigger man (and talent) to the end.  “I think there was a moment where Jim decided that he couldn’t do a fucking article without my name being mentioned – and I don’t think that’s a very comfortable feeling,” Bowie said.

Trynka also leaves it to the reader to fill in the blank about what motivated Bowie to champion Iggy in the first place. I would venture that Iggy was id to Bowie's super-ego, all-American primal instinct vs. a completely cerebral approach to music-making steeped in the traditions of British music hall and mime.  Bowie evolved to the very end; Iggy doesn't seem to have changed at all, at least on stage, where he clearly feels most like himself given what Bowie identified as his obsessive need to tour.  I also suspect that Iggy's athleticism held an aesthetic appeal for rock's greatest chameleon (what is it about these Michigan jock rockers anyway?  Like Alice Cooper, who doesn't get enough credit for the influence of his early work IMHO, Iggy took up golf, something I can't imagine Bowie ever doing).

Since publication of Trynka's prematurely definitive biography in 2007, I've downloaded some of Iggy's subsequent work, mostly for the pleasure of hearing his distinctive baritone and the occasional atavistic lyric, although nothing can compete with "I've never had it in the ear before" from Lust for Life, my introduction to his work.  Chiffon even included "New Atlantis," a paean to his adopted home ("Somewhere south of Alabama and north of Cuba there lies a beautiful whore of a city") and the threat it faces from global warming, on his 2023 year-end list.  

Who woulda thunk that Iggy Pop and Keith Richards, the two 60s rockers with reputations for the hardest living, would still be around more than a half-century later, long after the possibility of staying pretty had expired?  Just for fun, I queried AI to determine if online prediction markets were taking bets on who would last longer only to learn that even Polymarket and Kalshi have some scruples.  Death bets are forbidden even though your options for bankruptcy are unlimited.


Thursday, August 13, 2026

Greater New York

"Greater New York" at MoMA PS1 surveys the work of artists currently living and working in the area.  Like the Whitney Biennial, it can be hit or miss.

An installation called "Touch The Heart" assembled by Red Canary Song, a Queens-based organization that advocates on behalf of a group marginalized by both their ethnicity and profession, made the strongest impression by far. In 2021, a mass shooter murdered eight people of Chinese and Korean descent at an Atlanta spa and massage parlor where he had paid for sex. Using a pseudonym, Ellen honored the female victims by reproducing their visages on cutting boards.  Flowers over their mouths conferred public anonymity at the same time it symbolized both beauty and powerlessness.


Ellen also framed her portraits in gold glitter.  


"8Lives" (2022)
Another unique work uses Chinese food as a metaphor to explore quality of life issues among massage parlor sex workers.

"Dim Sum Constellations" by Yin Q and Chong Gu (2026)
I won't ever forget the braised chicken feet the first time I ate dim sum.  These even more inedible tools of the pleasure trade are almost as memorable.

Table Ill: Body Care, Desire, & Labor
Yin Q, one of the artists, co-directs Red Canary Song, 


Despite their name, the Women's History Museum art collective reverts to what I might call "damaged window dressing."

"Chez les heureux du monde" (2026)
But its visual impact is undeniable.

(detail)
"Problem 1" and "Problem 2," video sculptures by Marc Kokopeli, spoof America's history of financial booms and busts using the premise that it's Tax Day in South Park.  In "Problem 2" Cartman, surrounded by piggy banks, uses an actual spiel recorded by a CPA for You Tube.  Kokopeli calls his Instagram account "King of Venmo."
.   
 
This shiny, hollow sculpture by Kristin Walsh comments on the prohibition against melting pennies down to extract the copper used in their production, just 2.5% (the rest is zinc) since 1982.  


When the United States Mint ended their production last year, the copper content of penny was still worth one or two cents more than its circulating value.

"Indicator no. 9" (2026)
I thought of John Ahearn and Rigoberto Torres as soon as I saw these sculptures by Piero Penizzotto.  In fact, Ahearn mentored Penizzotto although the latter prefers capturing "fragile moments of togetherness" to plaster casting.

"The Council of las Tías (Mary, Milagros, Cynthia, Nereyda)" (2026)
Context is everything.  Posters like these--hand painted by the Cevallos brothers, now in their 80s-- have been advertising events and establishments along Roosevelt Avenue in Jackson Heights for decades.


Now they're adhered to a museum wall celebrating Latino community and culture in New York City. 


Taína Cruz drew on the walls of the Whitney, too.

"If and when they come shell be ready" (2026)
Her paintings evoke modern urban fairy tales.

"Charm Written in Steam and Light"  (2025)
"Uptown Twilight Sauté" (2025)
Even at this distance, I could recognize the work of another Biennial artist, he of the manifestoes.


"Chart of Darkness" by Akira Ikezoe (2025)
Kenneth Tam recruited taxi drivers who had overpaid for their medallions to participate in "I'M STAYING HOPEFUL AND STRONG (For Bilal and Salah)."  The video emphasizes their resilience in the face of predatory lenders and the disruptive rise of ride share services. 


Not yet 30, photographer Dean Majd, raised in Queens, is having a moment facilitated, in part, by Israel's genocidal response to October 7. His work has appeared on the cover of New York magazine (Habibi City, Swana Edition) and he shot Mayor Zohran Mamdani for VogueHis photos documening Palestinian life among his relatives in the West Bank and his cultural and political peers in New York cover two walls.


Masculinity has always been one of his central themes.  One could argue that performative masculinity is at the root of many societal problems.

"Birthmark" (2024)
Timely paintings by Esteban Jefferson share the same space with a more explicitly political orientation, although the the vibe of this monumental-like work is ambiguous:  are these immigrants pledging, beseeching or celebrating?

"The Immigrants" (2026)
Farah Al Qasimi, who earned her M.F.A. from Yale, mostly explores personal spaces in both domestic and international Arab culture through photography, video and performance.  I'm guessing she's commenting on oil wealth in this glossy image of Gulf States home decor.

"Snake on a Horse (UAE)" (2025)
Folk artist Dean Millien uses aluminum foil to depict animals more commonly found in Bushwick households.  Developmentally disabled, he didn't attend an Ivy League school and barely earns a living wage from the sale of his art.  

"The Cats and the Rats" (2026)
Hopefully, his belated embrace by MoMA PS1--now in his 50s, he's been creating since the age of three-- can finally help change that.

(partial)
His sculptures may not be beyond the financial reach of the 49 million Americans who keep cats as pets.

(partial)

Friday, August 7, 2026

The Stuff of Life

Even bros take advantage of free Friday nights at the Whitney.  Mabel Dwight, subject of another exhibit, might have called it "the stuff of life."  Her take would have been interesting.


Uncharacteristically, I downloaded an app after stepping out on to the eighth floor terrace. Nancy Baker Cahill's "Cento" allows you to customize a chimera with the twinned goal of raising environmental awareness and cooperation.


Pretty cool, even if it isn't part of the Biennial.


Nor was this attractive sculpture, who looked like he was dressed by International Male for cruising the Meatpacking District, circa 1978. I first saw I first saw Frank Benson's eerily lifelike work at the New Museum's 2015 Triennial.

"Castaway" by Frank Benson (2016)
Raven Halfmoon finally welcomed me to his year's crop of Biennial artists, using indigenous techniques that predate Christ.  Her materials take on the hues of sunrises and sets. Severe thunderstorms, not so much.

Sun Twins (2023)
By the time I reached the sixth floor, this one had trapped visitors inside for nearly an hour.


Ali Eyal, born in Baghdad in between America's invasions of Iraq, left the Middle East in 2017. Violence inflects his work.

(2026)
He painted this childhood memory of a visit to a war-torn amusement park with his family.

"Look Where I Took You" (2026)
My apartment reminds me a little of Agosto Machado's work on a larger scale.  Neither of us ever threw anything meaningful away and we share a fascination with color, camp and collage, although he was a self-described "street queen." While I went to college and then worked 9 to 5, he participated in the Stonewall riots and suspended his career as a performance artist to take care of friends, including Charles Ludlam and Ethyl Eichelberger, sickened by HIV.

"Downtown (Altar)" (2024)
We may have archived different worlds (Upper West Side vs. Lower East Side) but his altars and shrines resonated more than the work of any other artist in the Biennial.  Machado refused to divulge his age ("A lady never tells") but I'm guessing he was about a decade older than me.

"Shrine (Green)" (2022)
Machado died shortly after the Whitney recognized his unique homage to New York's downtown scene and the people who comprised it during the AIDS era.  What a way to go!  

Close-up
In "Pandemonium" Michelle Lopez explores media overload.  She used a tornado machine in the production of this video, projected on an enormous screen mounted to a gallery ceiling.


If you think, like I did, that this anthropomorphic painting is batshit crazy, as much circuit board as surreal environmental meditation, check out Akira Ikezoe's website.  He's definitely an artist of many manifestos.

"Mole Stories Around Methane Gas" (2025)
I'm guessing Anna Tsouhlarakis prefers creating to cancelling.  Here, she's spoofing "End of the Trail," a 1915 statue by James Earle Fraser, which dominates the entrance to the National Cowboy and Western Heritage Museum in Oklahoma City.  Neither exhaustion nor defeat come to mind in this 21st-century feminist evocation of indigenous peoples, complete with a menstrual cup foundation.  You go, Navajo Nation grrl!

"SHE MUST BE A MATRIARCH" (2023)
Nice touch, curators!


I didn't much care for Andrea Fraser's colorless sculptures, which resemble toddlers trapped in the maternity ward, but she did tip off curators to the long overlooked work of her mother, now exhibited in the same gallery.  Carmen de Monteflores abandoned her graphic depictions of human relations to become a psychotherapist and raise five kids when gatekeepers in the 1960s art world refused her admission. 

"Man and Woman Sitting" (1968)
The platform heel floating just above the yellow platform should have been a giveaway about the origins of this sparkly showstopper by Young Joon Kwak.  She cast body parts belonging to members of the queer and trans community to create a balletic sculpture suspended from the rafters, almost as if god were pulling the strings.

"Divine Dance of Soft Revolt (Anna, Travis, Me)" (2024)
"Mutual Life (38.9 years) by Cooper Jacoby (2025) and "Homo Machina (Human Machine, a.k.a. Gay Machine)" by Gabriela Ruiz (2026) evoked responses comparable to a babies reaching for mobiles above their cribs if not much else.  It wasn't surprising to learn that AI assisted in the development of the first.


I wonder if Taína H. Cruz, who grew up in New York City, ever got to see 5 Pointz. It had been whitewashed by the time she turned 16.

A Wall That Plays Along (2026)
"Continuing Anyway" (2026)
"Passage" (2026) reflects the thrill and occasional fear of growing up in an urban environment, especially while skateboarding in your red heels.


Dogs can be a comfort as well as a threat.

"This Counts" (2026)
Whether creating or running, Malcolm Peacock is in it for the long haul.  It took him ten months to braid this homage to a redwood tree, adorned with pages from The Autobiography of Malcolm X and The Narrative of the Life of Frederick Douglas.  

"Five of them were hers and she carved shelters
with windows into the backs of their skulls" (2024)
Doom and the Salem witch trials influenced these disturbing sculptures by Isabelle Frances McGuire.  They reminded me how much I regret missing John Proctor Is The Villain on Broadway, which probably would have been much more in my wheelhouse.

"Satan in America and Other Invisible Evils: Experiments in 
Public Sculpture (Demon, Crouch & Splay)"  (2026)
Erin Jane Nelson, who lives in Sante Fe, creates ceramic works from photos.  They reminded me a bit of something you might find in a gallery there. Not that there's anything wrong with that.  I'm of the firm belief that New York museums too often ignore regional art.


Speaking of edgy, was this a colorful collection of . . . butt plugs? 

"Kong Play" (2025)
Imagine my embarrassment when I discovered that Emilie Louise Gossiaux, who lost her sight as the result of a 2010 bicycle accident in Brooklyn, had replicated her recently-deceased guide dog's chew toys in ceramic. The scratchy drawings depict London; in general, the artist's work addresses the symbiotic relationship between people and animals.

"London, at the Foot of the Bed" (2025)
I won't lie: my favorite discovery at the Whitney wasn't in the Biennial.  Mabel Dwight, a pre-eminent lithographer of the 30s, earned that distinction.  She picked up her almost photorealistic skill after a stint in Paris.

Self-Portrait (1932)
Although Dwight trained and worked as an artist from an early age, she was a relatively late bloomer, creating these works after turning 50.

"The Clinch, Movie Theatre" (1928)
Kudos to Dan Nadel, the museum's curator of prints and drawing for mounting this terrific show.  He also wrote Crumbone of my favorite artist biographies.

"Mechano, Wonder of the World" (1928)
Dwight excelled at capturing the "stuff of life," particularly in New York City.

"El océano, Coney Island" (1928)
A socialist, she was committed to making her art affordable to the working class public that she depicted with such precision and sympathy.

"Abstract Thinking" (1932)
The thunderstorms had mostly stopped by the time I exited the Whitney, but I pretty much had the dripping, twilit High Line to myself.  More work by a Biennial artist.