Opinion

On the eve of a major show at the National Portrait Gallery, considering the legacy of MJ in light of ‘Apeshit’ and fraught debates on Blackness

A new series of screenings in New York tells a bracing account of filmmaking under the Russian leader

‘What is being exhibited at Manifesta, above all, is Palermo itself’

As the most expensive railway on earth is built, is art being used as a mouthpiece for power?

How designers are exploring the subject’s elemental role as an agent of political and social change

In the age of Brexit, why Labour leader Jeremy Corbyn’s pledge to return the ‘stolen’ Parthenon marbles has never been more urgent 

On the eve of the World Cup, Harry Thorne on the art world’s petulant refusal to embrace the beautiful game

From Stormzy at the Brit Awards to a Steve McQueen film to Forensic Architecture's media archive, what Grenfell has shown us about ourselves

For our second report from BB10, ahead of its public opening tomorrow, a focus on KW Institute for Contemporary Art

Closing on Sunday, this year’s nine-day festival held across the Kentish seaside town circles around the home as protective space

A first report from the 10th Berlin Biennale

A former police station, Tai Kwun, or ‘big station’, repurposes 16 historic buildings as cultural spaces in the heart of Central

‘Women’s salaries are less than men’s, even though they occupy the same jobs’

Publishing elegant, peculiar studies in fine attention and finer craft, how the small London press is producing some of the best writing around

‘The way I see it, the #metoo movement is as much about bringing down certain figures as it is about reconsidering how law is exercised’

Michelle Orange traces the recent history of Iranian films, from Jafar Pahahi’s Taxi (2015) to Mani Haghighi’s Pig (2018)

Dolphins, ketamine and leaky realities: Mark Pilkington considers Altered States, 40 years after its release

Four miles west of the city, Jupiter Artland marks its 10th anniversary with a new commission by Phyllida Barlow

From Kader Attia's couscous sculptures and Isa Genzken's 'towers', to Rorschach tests and Tony Kushner's Angels in America

In a climate of perma-outrage has live art self-censored to live entertainment?