EVA DÍAZ

ART HISTORIAN + CRITIC

Doomsday Domes

FCA and a New Economy for Experimentation

Strangers in a Strange Land: An Interview with Eva Díaz

Memory as Site in New Orleans and Beyond

Sharon Lockhart’s Historical Choreography; or, the War of Remembrance That Is History

Star Vision

Encounters with Contemporary Public Art

The Language of Transformation: A Conversation with Alfredo Jaar

The Good Life / La Buena Vida (with Carlos Motta)

Absent Populations: Deborah Luster’s Tooth for an Eye

Our Humble Outer Space

Domes for Doomsday?

We Are All Bauhauslers Now

Dome Culture in the Twenty-First Century

Live by Night: Andro Wekua

The Substance of Things Hoped for, and the Evidence of Things Not Seen…

Bachelor Pad Revolution

Pictures Degeneration

An Interview on the Interview: Eva Diaz in Conversation with Carlos Motta

Renata Poljak

The Triumph of Kipple: Alejandro Almenza Pereda’s Sculptures

Arrested Development

Progressive Pedagogy and the Whitney Program

Paul Klee: 1922

Art Workers in the Scarcity Economy

Jan Baracz

The Ethics of Perception: Josef Albers in the United States

Dude‚ I’m So Wasted

Futures: Experiment and the Tests of Tomorrow

Black Mountain College is Dead, Long Live Black Mountain College!

Future Noir, Or: How I Learned to Stop Worrying and Love Electric Toads

The Space Between Dream and Design

Labors of Attention: Digital Art and Its Industrial Past

A Critical Dictionary of Space and Sculpture

Furniture Music

The Itinerant Dream House

The New Public Art: Encounters in Privatized Space

Melancholy: A Call for Radical Boredom

Experiment, Expression, and the Paradox of Black Mountain College, 1933-1957

The Operatic Violence of Representation

Javier Tellez

Javier Tellez and the Enigma of Pandora’s Box

Perverse Objects of Desire: Bibliophilia in Contemporary Art

Gravity’s Draw: A Look at the 1960s and the 1990s
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