Evan Moffitt

A surprising show of silhouettes at the National Portrait Gallery in Washington, D.C. sheds light on obscure chapters of US history 

At Museo Tamayo, artists respond to the myth of the French playwright and theorist’s drug-fuelled collapse in the mountains of rural Mexico

With his fourth plinth commission unveiled in London, the artist talks archaeological magic tricks and Saddam Hussein’s obsession with Star Wars

The Triforium – Los Angeles’s weirdest and most reviled public artwork – awakes from a long slumber

What the artist’s newly-unveiled chapel in Austin, Texas, tells us about the origins of his practice

Various venues, New Orleans, USA

Robin Campillo’s portrait of ACT UP Paris puts militancy before mourning

How Bethany Collins, Steffani Jemison, Adam Pendleton and Kameelah Janan Rasheed are using the tradition of black radical poetry to examine questio

Clarissa Tossin, Maya Blue, 2017, performance documentation. Courtesy: the artist

Los Angeles Municipal Art Gallery, Los Angeles, USA

Tom Burr, Brutalist Bathroom, 2017, installation view at Bortolami, New Haven. Powder coated steel guard rails, bathroom doors from Marcel Breuer's Armstrong Rubber Co building, direct-to-substrate print on aluminum, 207 x 633 x 305 cm. Courtesy: the artist and Bortolami, New York; photograph: © Jessica Smolinski

The Pirelli Building, New Haven, USA

‘Vertical City’, installation view, Sidney R. Yates Hall. Courtesy: Chicago Architecture Biennial, Kendall McCaugherty © Hall Merrick Photographers

A report from the Chicago Architecture Biennial, whose interesting provocation sadly remains unanswered

Paulo Bruscky, Conexão (Connection), 2013, suitcase and collage, 34 × 54 × 18 cm. Courtesy: the artist and Galeria Nara Roesler, New York/Rio de Janeiro/São Paulo

On the eve of his solo exhibition at Centre Pompidou, Paulo Bruscky talks about mail art, fluxus and outwitting the Brazilian military dictatorship