| Before the New York spring art fairs steal our attention next week, let’s consider the story of Glenn and Kara Spellman, the lucky siblings who stumbled upon a long-lost Eva Hesse painting during a casual scroll on Goodwill’s auction website. The 1959 artwork is now heading to a much bigger sale at Christie’s. Author and professor Laurie Gwen Shapiro has a dramatic account of this fortuitous find. Speaking of rare art, check out Isa Farfan’s report on a Banksy mural painted at a Brooklyn warehouse over a decade ago that is back on view after long years in storage. Throwback: Editor-in-Chief Hrag Vartanian reported on the mural when it first emerged in 2013. In reviews, Associate Editor Lisa Yin Zhang visits a John Singer Sargent survey at the Met Museum featuring the iconic “Madame X” (1883–84), a painting that ruffled feathers at the Paris Salon of 1884. Elsewhere, Sháńdíín Brown reviews a show by pioneering Native American photographer Cara Romero, and John Yau muses on Lori Larusso's vibrant paintings about our unwholesome consumption culture. On the occasion of Trump’s 100th day in office this week, we published the second issue of The Siren, a satirical publication led by artists including Coco Fusco, Noah Fischer, and Pablo Helguera. I can’t recommend it enough. And don’t miss News Editor Valentina Di Liscia’s take on the heartbreaking photo of migrants who formed an SOS sign with their bodies at an ICE detention center in Texas. There’s a lot more, as usual, including guides for exhibitions to see in New York City, Upstate New York, and Los Angeles, plus our useful Opportunities listings for artists, writers, and art workers. Have a great weekend! — Hakim Bishara, Senior Editor | | |
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| | “Landscape Forms,” a 1959 artwork whose whereabouts were unknown for decades, is headed to Christie’s after it was spotted online by a sharp-eyed appraiser. | Laurie Gwen Shapiro |
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| SPONSORED | | | | | The museum’s collection and mission are rooted in the rich, diverse sights, sounds, sensations, and stories of Arab American culture and heritage. Learn more |
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ART & MUSIC | | | An exhibition of the late musician and devoted spiritual leader effectively incorporates music, performance, and visual art. | Nereya Otieno
Arthur Russell and Julius Eastman’s influence is felt in the echoes between the present and the past, the dead and the living, and, most prominently, each other. | Claudia Ross |
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| SPONSORED | | | | | The New Art Dealers Alliance’s signature fair presents a diverse and expanded selection of contemporary art from around the world. On view from May 7 to 11. Learn more |
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REVIEWS | | | What comes through most strongly in the Met Museum exhibition is his humanistic bent: Sargent loved people, and it shows. | Lisa Yin Zhang
Collaborators rather than mere models for the artist, Romero’s subjects actively shape their own representation and convey the power of artistic reclamation. | Sháńdíín Brown
The photographer’s vision of New York appears romantic, but she knows that the people who built it are under constant threat of being swept aside by change. | Scott Schomburg |
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| | | Interested in how consumer society processes food and images, Lori Larusso depicts an increasingly askew consumer-driven world. | John Yau
One of a new documentary’s most intriguing strands is the way that brand seemed to eclipse the man, according to his own family. | Dan Schindel
The most striking works on view at this New York fair channel political urgency into personal explorations, embracing sincere introspection. | Daniela Mayer |
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| SPONSORED | | | | | The Santa Fe museum actively cultivates the soil for current and future generations of Native artists to thrive, a duty that extends far beyond preservation and display. Learn more |
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OPINIONS | | | The aerial image of 34 men spelling out a distress signal from a Texas detention center stands in defiance of a government that wants to crowd our field of vision. | Valentina Di Liscia
The overwhelming majority of the Manhattan school’s faculty members are unprotected adjuncts. | Anthony Hawley
Especially for artists, this month is a tactical intervention. A crack in the Brahminical fabric of Indian memory. It’s not a request for inclusion; it’s a declaration of rupture. | Siddhesh Gautam |
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ART GUIDES | | | Amalia Mesa-Bains’s altars to memory, Akinsanya Kambon’s Pan-Africanist sculptures, colonial wine production, restaging Diane Arbus’s 1972 retrospective, and more. | Matt Stromberg
Rich photographs by Wolfgang Tillmans, Steve Mallon’s odes to locomotives, Joanna Grabiarz’s joyful etchings, and so much more. | Taliesin Thomas
From historical shows about labor to investigations of color to John Singer Sargent’s renderings of hands, we’re enjoying a variety of art this week. |
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COMICS | | | The Siren is back for a second issue. Read up and rise up!
Laylah Ali, whose drawing survey is on view at UMass Amherst, has a knack for addressing what artists stay silent about. | Jesse Lambert and Laylah Ali |
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| MORE FROM HYPERALLERGIC | | | Residencies, fellowships, grants, and open calls from the Vilcek Foundation, the Oak Spring Garden Foundation, and more in our monthly list of opportunities for artists, writers, and art workers. |
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Flex your art smarts with the wear-everywhere Hyperallergic Tote Bag, now available on our online store. Shop now |
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MEMBER COMMENTS | | John Hall on “Galleries That Play the ‘Responsibility’ Game” | | Yes! A rare, authentic assessment of a gallery’s clumsy attempt at sleight of hand. Alexis Clements’ review of “Mother Nature” appears far more revealing of (human) nature than the exhibition.
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