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Evan Moffitt

Most works carry a subtle political charge that amounts to a thoughtful critique of the injustice of our times

By Evan Moffitt

The strongest exhibitions in the 58th Venice Biennale find creative freedom in failure 

By Evan Moffitt

Two exhibitions, at MoMA and David Zwirner, reveal how the impresario and his milieu defied the rationalism of 20th-century art

By Evan Moffitt
Harmony Hammond, Bandaged Grid #1, 2015, oil and mixed media on canvas. Courtesy: Alexander Gray Associates, New York © 2018 Harmony Hammond / Licensed by VAGA at Artists Rights Society (ARS); photograph: Jeffrey Sturges

In the artist’s first US survey at the Aldrich Contemporary Art Museum, abstract paintings and sculptures evoke women’s bodies in pleasure and pain

By Evan Moffitt

A survey at the Museum of Fine Arts, Houston, revisits the artistic movement and sheds new light on its demand for political change 

By Evan Moffitt

‘Appointed by Barack Obama in 2009, Sotomayor is the fourth woman and the first Latina to serve on the nation’s highest court’

By Evan Moffitt

In a survey at Contemporary Arts Center, New Orleans, photographs by Keith Calhoun and Chandra McCormick capture life within the US prison industrial complex 

By Evan Moffitt

With the Menil Drawing Institute opening on the eve of the US midterm elections, what Houston says about the future of the country

By Evan Moffitt

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

By Evan Moffitt

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

By Evan Moffitt

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

By Evan Moffitt
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’

By Evan Moffitt