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Evan Moffitt

At LABOR, Mexico City, the artist has dug a four-metre manhole to raise questions about the future of his hometown

The second oldest exhibition in the world, held at Pittsburgh’s Carnegie Museum of Art, makes the case for ‘museum joy’

Handing authorship of the biennial to a diverse group of artists is a democratic gesture but conveniently deflects and disperses blame

David Wojnarowicz poster image for the Rosa von Praunheim film Silence=Death, 1989, photographed by Andreas Sterzing. Courtesy © Andreas Sterzing

‘This retrospective portrays an inveterate outsider, a champion of the different and disempowered, as a fixture of a canon he reviled’

Valeska Soares,  Finale, 2013, antique table, glasses,  pitchers, decanters, alcohol and mirror,  79 × 335 × 92 cm. Courtesy: the artist, Cisneros Fontanals Art Foundation, Miami, Alexander Gray Associates, New York and Fortes D’Aloia & Gabriel, São Paull

The artist discusses the objects, ideas and artworks that have shaped her practice

Illustration by Lauren Rolwing

Even as right-wing politics increasingly tries to enforce them, remembering that nature and art know no borders

At the crux of this ambitious show lies the question: who is this triennial really for?

At Lehmann Maupin, New York, the artist's immersive installation and paintings from the 1970s commemorate forgotten indigenous histories

With work in the Liverpool Biennial and ICA Philadelphia, the Seoul-based artist reanimates an ancient Korean musical system

The central thrust of the exhibition positions Sicily as the fulcrum of geopolitical conflicts over migration, trade, security and surveillance

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