Issue 211

The New York-based photographer answers our questionnaire

By Cindy Sherman

Before Twitter, Félix Fénéon’s daily ‘novels in three lines’ made a literary art form of current affairs

By Francesca Wade

Ahead of his new work, filmed on a boat in Venice, an interview with the Italian auteur

By Barbara Casavecchia

From @jerrygogosian to @bradtroemel, memes have become a primary method of institutional critique

By Mike Pepi

On the video-sharing app, laughter lubricates the wheels of the desperation train

By Rob Horning

Why be part of the art world when you can just crash the party? 

By Steven Phillips-Horst

The critic’s folksy guide, How to Be an Artist, includes some valuable insight on the creative process 

By Dan Fox

Frieze magazine has been redesigned, beginning with our May/June issue

By Andrew Durbin

The artist’s installation – based on the interior of a nearby gay cruising bar – invokes a haunted sense of refuge

By Matthew McLean

At Museo Jumex, Mexico City, a retrospective of the pioneering architect’s key projects shows how she worked to tear down class and racial barriers in Brazilian society

By Evan Moffitt

Through her spatial interventions at Établissement d’en face, Brussels, the artist reflects on the layering between art and politics 

By Martin Germann

An exhibition at Jan Kaps, Cologne, stresses the trauma of economic transformations in formerly socialist countries

By Moritz Scheper