Cooking Sections, Cases of Confusion (50-40-20) (56-45-25) (55-40-20), 2015. Courtesy: the artists

Essay - 22 Apr 2016

Ellen Mara De Wachter considers how plants can teach us to live ethically

George Grosz, The Painter of the Hole I, 1948, Öl auf Leinwand, 77  × 56  cm

Notes on Awkwardness

By Amy Sillman

Essay - 20 Mar 2015

Dan Fox reports on the exhibition's highlights

Essay - 27 Oct 2014

Pablo Larios talks about 'Network Fatigue' in the age of digital circulation

Ketuta Alexi-Meskhishvili, Window, 2013, C-type Print, 46 × 36 cm, Courtesy für alle Bilder: die Künstlerin und Micky Schubert, Berlin

Ketuta Alexi-Meskhishvili’s images conjure depth from the flat surface of photography

By Christy Lange

Essay - 07 Feb 2014

frieze co-editor Dan Fox asks: who are the audiences for artists, writers and curators?

Nadim Vardag, Installationsansicht, Galerie Georg Kargl, Vienna, 2012. Auf dem Tisch: Astrid Wagner, Untitled, 2012, lackierte Keramik, 16 × 10 × 14 cm ( courtesy: der Künstler & Galerie Georg Kargl, Vienna)

Is there such a thing?

By Dominikus Müller
Peter Fattinger, Veronika Orso, Michael Rieper und Studenten der technischen Universität Wien, Add on. 20 höhenmeter, 2005, mixed Media, 28 × 12 × 20 m (courtesy: fattinger, orso. architektur; Fotografie: Florian Haydn)

Vienna has a unique relationship to interior design.

By Helen Chang
Gerhard Rühm, Untitled, aus dem Projekt Concrete Poetry; Scharf, 1955, Collage, Zeitungsausschnitte auf Pappe 32 × 22 cm (courtesy: Christine König Galerie, Vienna)

Postwar experiments in poetry and art: revisiting the Wiener Gruppe

By Pablo Larios
Corinthians clube social, 2009, einer von drei C-prints, 33 × 45 cm (Courtesy: der Künstler & Galerie Andreas Huber, Vienna)

Josef Dabernig’s tireless quest for autonomy

By Matthias Dusini

Essay - 30 Oct 2013

What do we mean by Post-Internet art?

William Pester vor seiner Hütte in Palm Canyon, Palm Springs California, 1917 (courtesy: Palm Springs Art Museum, Photograph: Stephen H. Willard)

Tracing the ideas that travelled from Germany to the deserts of Southern California, and, eventually, to define the spirit of 1960s counterculture.

By Lyra Kilston