After the opening-day panel discussion for Painter Painter, Minnesota-based artist David Lefkowitz was left puzzled. Why did the panelists frame the discussion around the discredited, yet persistent master-narrative of High Modernism? Is it possible to carve out new territory in painting? Whatever happened to context? In a blog post sure to spark discussion, he opens up these and other questions.

As part of the 2010 exhibition The Talent Show, Evan Ratliff discussed his attempt to vanish—and how Wired readers followed the digital breadcrumbs to track him down.

When the wall holding Sol LeWitt’s Wall Drawing No. 681 C began collapsing Friday at the National Gallery of Art, a group of students was there to catch it. The 10 x 37 ft. mural saw only minimal damage.

Early on in our Interdisciplinary Work Group convenings, a fundamental question emerged: Is our interdisciplinary focus solely concerned with collaborations that happen among artists, or are we also drawn to how the interdisciplinary could apply to our daily work as Walker Art Center staff members?  While our diverse range of IWG invited guests spoke to […] Early on in ourInterdisciplinary Work Group…

Pedro Reyes’ Disarm project—in which he turns guns into musical instruments—is getting renewed interest in the wake of US gun violence, but the project actually references Ciudad Juarez, where at its worst, firearm deaths hit 10 per day.

After spending most of his career in NYC, sculptor Aaron Spangler’s relationship to rural images in his art has changed since moving to northern Minnesota. “Having the luxury of taking them for granted liberates me from my compulsions towards them.”