So, how was that solar eclipse yesterday? I found it awe-inspiring, although we didn't enjoy a total eclipse here in New York City. For those who live outside the eclipse's path, or preferred to stay indoors, we’ve gathered the best photos of the rare cosmic event, from Mexico to the Niagara Falls.

Today we also remember Vietnamese-American artist Dinh Q. Lê, who died from a stroke last weekend at 56, and examine how Hindu iconography has morphed into a tool of anti-Muslim nationalism in India.

Also in the news: The scandal-stricken Orlando Museum of Art, now infamous for its exhibition of fake Basquiats, receives a massive gift of over 300 artworks. Presumably, these ones are real.

There’s more, including Alex Paik on experimental Korean art, Eileen G’Sell on the new comedy Problemista, and Alice Procter on the art of Sonia Delaunay.

— Hakim Bishara, Senior Editor

Ubiquitous imagery of aggressive, hypermasculine deities across India has become a chilling extension and tool of the Hindu right’s anti-Muslim rhetoric.

Nadia Nooreyezdan

Expand your academic career and join distinguished professors and peers online or in person in Saas-Fee, Switzerland, and Valletta, Malta.

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• Breathtaking press photographs captured what’s been dubbed the “Great American Eclipse.”

• Artist Dinh Q. Lê, who tended the wounds of post-war Vietnam, has died at 56.

• Scientists are conducting studies and using eye-tracking technology to investigate whether it’s possible to articulate the experience of viewing art.

• The Orlando Museum of Art has received a “transformational gift” of 300 works by artists including Helen Frankenthaler, Keith Haring, and David Hockney.

Artists of the silheom misul movement in the 1960s and ‘70s wrestled with an increasingly globalizing, industrializing, and politically censorious Korean art world.

Alex Paik

What Happened showcases Eisenman’s ability to take on contemporary events with a style, vision, and anarchic sense of humor entirely her own.

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With Sonia Delaunay: Living Art, we get to glimpse pockets of the artist’s work across media, and feel her expansive and collaborative production.

Alice Procter

Julio Torres’s directorial debut takes a fantastical approach to depicting the very real trials of immigration and creative work.

Eileen G’Sell

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