On View

The busiest week of London’s art world calendar is almost upon us. As everyone gears up to take on Frieze’s big white tents and a buffet of blockbuster museum shows, they may wonder when they’ll ever be able to have a break. The insider tip is to visit All Saints Chapel, an oasis of calm just off Oxford Street that boasts magnificent decorative features, including a sweeping crucifixon fresco and stained glass windows by the Victorian artist John Richard Clayton.
This unique 19th-century space is being used to stage the intimate exhibition, “Living Memory,” which presents sculptures by Louise Bourgeois and paintings by Israeli artist Gideon Rubin against a soothing soundscape by French musician Nicolas Godin. The show explores how each artist has been informed by memory, and foregrounds their ability to morph materials into strangely familiar, human forms.
Installation view of “Living Memory” at All Saints Chapel in London. Photo: Richard Ivey.
Adapted for all-women convent, Clayton’s crucifixion scene is unusual for only depicting women attendants. These dutiful figures are explicitly echoed in new paintings by Rubin, which were modeled on stills from the German film Mächen in Uniform (1931) by female director Leontine Sagan. Almost life-size, they have a commanding presence, but without faces and dressed in plain white dresses they never overwhelm their ornate surroundings.
“Gideon has always used found photographs from flea markets that are completely anonymous to him, and he’d reimagine their lives,” said the show’s curator Beth Greenacre. “Its very much about time passing and the loss of detail.”
Stealing the show, inevitably, are the three sculptures by Bourgeois, two of which belong to her “Personages” series from the 1940s. These tall abstracted forms are a masterclass in how little detail is needed for a composition to be richly suggestive. Brother & Sister (1949), which takes centre-stage in place of an altar, consists of two curved slabs of woods that merely brush against each other but instantly communicate familial affection.
“She had just left Paris and was an emigré in New York,” said Greenacre. “She talked about these as memories of the families and friends she’d left behind. They’re totems of characters and they become what we want them to be as well.”
Installation view of “Living Memory” at All Saints Chapel in London. Photo: Richard Ivey.
As in Rubin’s work, much can be read into a single gesture, post or tilt of the head. “In that space between abstraction and figuration, what is possible?” said Greenacre. “Its interesting to think of Bourgeois’ history of psychoanalysis and how she uses her art as a way of releasing challenging moments from her past.”
Leaping forward many decades to Bourgeois’ later life, Arch of Hysteria (2000) is a splayed naked body, somehow simultaneously limp and taut, and roughly stitched together with scraps of unnaturally pink fabric. Suspended from the ceiling, the small doll slowly spins on its see-through string. The work is inspired by the idea of the “hysterical” (presumed female) patient confined and studied by the male neurologist Jean-Martin Charcot, about whom Bourgeois felt both critical and curious.
Though in some sense, references like these might feel out of place in a chapel, the space’s unique capacity for peaceful contemplation feels entirely appropriate for artworks that, much like the religious art that came before them, speak to universal themes of remembrance, loss, spirituality, and transformation.
“Living Memory” is open Monday to Saturday until 6pm at 82-83 Margaret Street in Fitzrovia through October 27. There will be a special late opening on October 12 for Frieze. It is supported by Galerie Karsten Greve.
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You may not know the name María Magdalena Campos-Pons yet, but the Cuban-born artist—who draws on the global legacy of colonialism and her own family history—has long built up significant art-world credentials outside of New York.
In addition to appearing in prestigious international exhibitions such as Documenta 14 and the Sharjah Biennial, she has also had her work acquired by institutions including New York’s Museum of Modern Art, the Smithsonian American Art Museum, the Detroit Institute of Arts, and the Crystal Bridges Museum of American Art. Just this week, she was named a 2023 MacArthur Fellow, an honor that comes with a $800,000 grant.
Now, those pieces are all on loan to the Brooklyn Museum—which added Campos-Pons to its own collection earlier this year—for the 64-year-old artist’s first museum survey show since 2007 (at the Indianapolis Museum of Art), and her first major New York exhibition.
“María Magdalena Campos-Pons: Behold” at the Brooklyn Museum with her sculptural installation Spoken Softly With Mama (1998). Photo by Paula Abreu Pita.
The first work on view, an ambitious installation titled Spoken Softly With Mama, “is just art history canon, period,” Carmen Hermo, associate curator at the museum’s Elizabeth A. Sackler Center for Feminist Art, told me during a recent tour of the exhibition.
First shown at MoMA in 1998 and now in the collection of the National Gallery of Canada, the piece combines video projection, sound, cast glass sculpture, and hand embroidery in a moving tribute not only to the artist’s female relatives, but the broader history of Black women’s domestic work, both for their own families, and in the employ of white ones.
“In the videos, you see Magda kind of performing these poetic surrealist type of evocations of that labor,” Hermo said.
María Magdalena Campos-Pons, Secrets of the Magnolia Tree (2021). Collection of the Museum of Modern Art, New York. Photo ©María Magdalena Campos-Pons.
Hermo organized the show with Mazie Harris, a curator at the Getty, where the show will conclude a tour that includes stops at the Nasher Museum of Art in Durham, North Carolina, and the Frist Art Museum in Nashville, bringing together a selection of more than 50 works that engage with complex subjects such as motherhood, racial identity, the legacy of slavery, police brutality, and the migrant crisis. (A tribute to Breonna Taylor is on loan to the Brooklyn Museum from the Speed Art Museum in Louisville, Kentucky.)
A photographer, painter, sculptor, and performance artist, Campos-Pons was born in 1959, the year Fidel Castro came to power. In defiance of the official state atheism of her youth, the artist taps into her spirituality in her work, often referencing Santería, an African diasporic religion with roots in West Africa’s Yoruba faith that has influences from a wide range of cultures, including Catholicism.
María Magdalena Campos-Pons, Red Composition (1997), from the series “Los Caminos (The Path).” Collection of Wendi Norris. Photo ©María Magdalena Campos-Pons.
Campos-Pons’s grandmother was a Santería priestess; her father, an herbalist. Key to many pieces are Santería’s pantheon of Orishas, seven deities said to have traveled to the Americas during the slave trade to safeguard their people.
One self-portrait depicts Campos-Pons as Yemaja, the mother of all Orishas, naked from the waist up save for blue body paint of the ocean waves. The artist is posing with two baby bottles of her own breast milk and a hand-carved wooden boat, symbolizing the goddess’s nourishing of her people even as they are forced to leave behind their homes.
María Magdalena Campos-Pons, Untitled (Breast and Bottle Feeding) (1994), from the series “When I Am Not Here/Estoy Alla.” Collection of the Hood Museum of Art, Dartmouth. Photo ©María Magdalena Campos-Pons.
A significant portion of the exhibition is dedicated to the artist’s large-scale Polaroids, 20-by 24-inch prints she began creating as part of a multi-year residency with the photography company in the 1990s. Campos-Pons uses the individual images to create unique multi-panel photographs that are monumental in scale and look like performances frozen in time.
“That idea of the combination of the fragments coming together as one is so crucial to the work. She also describes it as the topography of diaspora,” Hermo said. “This idea that you’re taking multiple experiences and dislocations and geographies and connections and sort of combining them all together.”
María Magdalena Campos-Pons, When I Am Not Here/Estoy Allá, Tríptico I, (1996). Photo ©María Magdalena Campos-Pons.
Forced to leave an increasingly unstable Cuba following the fall of the Soviet Union in 1991, Campos-Pons moved first to Canada before settling in Boston. (She’s called Nashville home since 2017.) Unable to visit her family for years, the artist imbued her work with a sense of homesickness and loss, but also a rootedness in her identity and family history, as well as her physical body.
The 1990 mixed-media wall-relief sculpture Soy una Fuente (I Am a Fountain), just acquired by the Detroit Institute of Arts at Christie’s in March—where it sold for four times the high estimate—illustrates many of those themes and Campos-Pon’s strong feminist underpinnings.
María Magdalena Campos-Pons, Soy una Fuente (I Am a Fountain), 1990. Collection of the Detroit Institute of Arts. Photo ©María Magdalena Campos-Pons.
“It has these elements of the body fragmented again, but effusive, leaking,” Hermo said. “There’s menstrual blood, there’s shit, there’s tears, there’s breast milk, there’s a little fetus floating there in the center, and then what Magda describes as the most potent output of a woman—which is her words, coming from the mouth. It’s this idea of the artist defining herself, as a body, as a creator of life, but then also specifically as a Black woman.”
“María Magdalena Campos-Pons: Behold” is on view at the Brooklyn Museum, 200 Eastern Parkway, Brooklyn, September 15, 2023–January 14, 2024.

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For her third New York solo show, British artist Lucy Sparrow wanted to do something special. So, to follow up 2017’s blockbuster felt bodega and the upscale stuffed grocery store of 2019, she’s back with her most interactive work to date, a cross between Jewish appetizing store and delicatessen where she’ll be sewing bagel sandwiches to order, $250 a pop.
Considering the price of lox at Russ and Daughters on the Lower East Side—nearly $60 a pound—it’s not a bad deal. Each and every component is lovely hand stitched by the artist, who has spent about nine months in preparation for the show, and you can choose up to eight toppings from the counter.
Some are traditional, like slices of smoked salmon, hand-painted rounds of tomatoes, glittering pickle spears, and strings of shiny black beads for the caviar. There’s also satiny fried eggs or fluffy scrambled ones if you want a bacon egg and cheese, and sweet options such as Nutella and berries, as well as less conventional offerings including mozzarella, jalapeños, and hummus.
The bagels also come in 13 flavors, including the Instagram-famous rainbow variety, and cost $50 sans filling.
Lucy Sparrow’s felted bagels at “Feltz Bagels,” her new New York City bagel shop art show. Photo by Sarah Cascone.
The pop-up exhibition is called, naturally, “Feltz Bagels”—a Jewish surname that doubles as a nod to Sparrow’s preferred material. (She loves using the relatively inexpensive fabric because it comes in such a wide variety of colors, allowing her to recreate almost anything in her cute and cuddly style.)
Because Sparrow doesn’t have any Jewish heritage, she did lots of research to make sure she got the details for Feltz Bagels right, including visiting Russ and Daughters and Katz’s Deli, both of which were in full support of her handmade creations. (The former even provided babka for the exhibition press preview, served alongside Sparrow’s stuffed slices, naturally.)
Lucy Sparrow’s felted babka alongside the real deal from Jewish appetizing store Russ and Daughters at the press preview for “Feltz Bagels,” her new New York City bagel shop art show. Photo courtesy of the artist.
“My work is always focused on community experiences and the amazing everyday products that bring us all together. There really is no greater example of this than the traditional bagel bakeries of the Lower East Side of New York that have been nourishing much more than the stomachs of the city’s residents since the late 19th century,” Sparrow said in a statement.
Organized by Montauk gallery TW Fine Art, this is the second iteration of Feltz Bagels, after a run in Montauk this summer. (Sparrow has also created her own McDonald’s, a British corner shop, and a Los Angeles supermarket, among other projects.) To meet expected demand—her first NYC show, “8 ‘Till Late” had to close early when everything sold out—Sparrow created 30,000 individual works for the occasion.
Lucy Sparrow’s felted caviar tins at “Feltz Bagels,” her new New York City bagel shop art show. Photo by Sarah Cascone.
The shop’s offerings go beyond bagels to include other foodstuffs popular with the Jewish community, including yarn-covered latkes, shiny tins of caviar, and Fox’s U-Bet chocolate syrup.
There’s even a special tribute to the Jewish religion, with a shelf featuring a fabric Hanukkah menorah and Passover Seder plate made by Sparrow, with chocolate gelt, matzos crackers, and Manischewitz kosher wine. (On the other hand, there’s a secret back room selling pork products, hard liquor, and tiny baggies of marijuana, among other illicit substances, with thick stacks of felt money.)
Lucy Sparrow at “Feltz Bagels,” her new New York City bagel shop art show. Photo courtesy of the artist.
There’s also a wide range of baked goods for sale at Feltz’s, including the iconic black and white cookies, croissants, and diminutive rugelach for just $10 a piece, as well as various types of junk food. (The bags of Cheetos Puffs, with their delightful depiction of Chester Cheetah, deserve a special mention.)
It’s a true New York moment, with all the best of Jewish food culture in one place (traditionally, meat and cheese products are sold at separate stores in keeping with kosher dietary law, but I think it’s fair to let things slide in the name of art).
And, as a reminder of just what a culinary melting pot is, you can also order a $50 cup of coffee in the traditional blue and white Greek to-go cup, reading “we are happy to serve you”—a fitting tagline for Sparrow’s feel-good art.
See more photos from the exhibition below.
Lucy Sparrow’s felted cash register and coffee at “Feltz Bagels,” her new New York City bagel shop art show. Photo by Sarah Cascone.
Custom bagel toppings at Lucy Sparrow’s “Feltz Bagels,” her new New York City bagel shop art show. Photo by Sarah Cascone.
Lucy Sparrow’s “Feltz Bagels,” her new New York City bagel shop art show. Photo by Sarah Cascone.
Lucy Sparrow’s felted latkes at “Feltz Bagels,” her new New York City bagel shop art show. Photo by Sarah Cascone.
Lucy Sparrow’s felted black and white cookies at “Feltz Bagels,” her new New York City bagel shop art show. Photo by Sarah Cascone.
Lucy Sparrow’s felted menorah and seder plate at “Feltz Bagels,” her new New York City bagel shop art show. Photo by Sarah Cascone.
The illicit back room at Lucy Sparrow’s “Feltz Bagels,” her new New York City bagel shop art show. Photo by Sarah Cascone.
Lucy Sparrow’s felted food at “Feltz Bagels,” her new New York City bagel shop art show. Photo by Sarah Cascone.
The illicit back room at Lucy Sparrow’s “Feltz Bagels,” her new New York City bagel shop art show. Photo by Sarah Cascone.
Lucy Sparrow’s “Feltz Bagels,” her new New York City bagel shop art show. Photo by Sarah Cascone.
“Lucy Sparrow: Feltz Bagels” is on view at 209 East 3rd Street, New York, October 3–31, 2023. 
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American artist Kerry James Marshall has produced his first-ever formal portrait, choosing to depict the renowned African American scholar and historian Henry Louis Gates, Jr., often known as Skip. The work has been donated to Gates’s alma mater, the University of Cambridge, and is now on public view at Cambridge’s Fitzwilliam Museum.
The gift is a major coup for the regional museum—becoming only the second painting by Marshall to enter one of the U.K.’s public collections. Celebrated for his typically lively scenes in which Black people enjoy everyday pleasures like a backyard barbecue, a trip to the hair salon, or a day spent by the river, Marshall recently became the most expensive living Black artist.
Gates, a Harvard professor of African American studies and a prolific writer, met up with Marshall at the Fitzwilliam earlier this week to unveil the work. The pair, whose long-time admiration of each other has formed the basis for a fond friendship, were in a jocular mood as they recalled the circumstances that led up to the portrait.
Shortly after majoring in History summa cum laude at Yale in 1973, Gates was the first African American to receive a fellowship to study abroad from the Andrew W. Mellon Foundation. Though he had been “raised to be a doctor,” he enrolled in English Literature at Clare College, Cambridge, eventually finding a passion for African and African American literature thanks to the mentorship of Nigerian writer Wole Soyinka. “I owe this place quite a lot,” he said, reflecting on the encouragement he received to pursue academia. “I feel indebted.”
Kerry James Marshall, Henry Louis Gates Jr (2020). Photo courtesy of the Fitzwilliam Museum in Cambridge.
Nearly 50 years later, in 2020, the university offered Gates an honorary degree. The scholar offered to commission his own portrait for the college’s graduate common room, calling up his friend Marshall for a favor. Despite never having worked on a formal portrait, he “agreed right away,” and the painting was swiftly allocated to the Fitzwilliam instead. “Once they realized this was a Kerry James Marshall work of art, it could not be in a common room with a bunch of students spilling beer all over it,” joked Gates.
“It was a no brainer. This was not something you could say no to,” said Marshall. “Skip Gates is the W.E.B. DuBois of my generation. These are the people who made being a public intellectual something achievable.”
The sensitive portrayal of Gates shows him seated in an office, turning away from a pile of his own books to face the viewer. “I was interested in painting a picture that had a certain presence that gave Skip the authority he deserved for the stature he has achieved,” said Marshall.
And what of Marshall’s precedent for avoiding portraiture? “Of course, it’s not because I can’t,” he said. “I’ve been invested in making art that is based on ideas, art as a philosophical pursuit. And I make images of people who have a presence in history of which there are no images.”
“The reason I paint figures black is because the Black figure operates as a rhetorical figure,” said Marshall, referring to the unmixed, unadulterated shades of black that he uses for skin tones. “It’s always been stated that black is not a color and you should never use the black that comes out of a tube, but those blacks have a chromatic reality too,” he explained. “My mission was to make those black figures become as chromatic as every other color in the painting. Black is being treated as if it’s a complex color too.”
The shift to portraiture required a slightly different approach. “When it comes to making a painting of Skip, he did ask me, ‘what color am I gonna be?’” recalled Marshall with a laugh, to which Gates exclaimed, “I wanted to be black!”
“I didn’t do that, because to change people… to misrepresent somebody as a color they are not, is akin to blackface,” said Marshall, adding that he decided to make the portrait more true-to-life with naturalistic skin tones.
The pair also used the painting as a starting point to talk more generally about how race relations have changed in the U.S. over the course of their lifetimes. Gates spoke out against the Supreme Court’s recent 6-3 vote to reverse affirmative action, which was introduced in the 1960s. “I wouldn’t have gotten in to Yale without affirmative action,” he said. “The class of 1966 had six Black men graduating, the class that entered Yale with me in 1969 had 96 Black students, and we went on to integrate the power elite. Since 1970, the Black middle class has doubled.”
“The right is trying to end all that,” Gates added. “They’re saying, I don’t know how Kerry James Marshall is in the Met, and now the Fitzwilliam, but that’s over. They are in panic because they saw too much power, too quickly for Black people and they’re trying to roll back the clock.”
“All these things are possible,” said Marshall. “They were possible for [Gates], they’ve been possible for me. I don’t see how they are not possible for anybody who doesn’t take the opportunity and do the work that’s required. That’s how I see the world,” he added. “And in terms of progress that needs to be made, because of the position I have now, I’ve been able to dramatically change the lives of a lot of people. That’s all I can do so that’s where I focus my attention.”

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The pandemic-induced craze for “immersive Van Gogh” experiences has waned, forcing one leading provider to file for bankruptcy earlier this year. Now, for its new exhibition dedicated to the beloved Post-Impressionist, the Musée d’Orsay in Paris is trying out an even more high-tech approach—involving virtual reality, A.I., and NFTs—to try and reignite some of that same enthusiasm.
The show, “Van Gogh in Auvers-sur-Oise: The Final Months,” which opens today and runs through February 4, 2024, will feature some 40 works produced during the last two months of the painter’s life, in 1890, shortly after his year-long stint at the Saint-Paul asylum in Saint-Rémy. During this time, Van Gogh made more than 74 paintings, some of which are among his most renowned.
Toward the end of the traditional exhibition, the power of A.I. allows visitors to interact with Van Gogh, whose digital manifestation appears via video screen and takes questions from his audience in French. The artist’s insights are gathered from the many letters he wrote in his lifetime, which were used as input data to inform his A.I. reincarnation. It appears that no subjects are off limits, including Van Gogh’s mental health struggles and his decision to cut off part of his left ear, about which various news reports suggest he has received an exhausting number of inquiries.
“While I did face mental health struggles, my move to Auvers-sur Oise was not motivated by a desire to end my life,” he at one point reassured visitors, according to AFP. He also declared on no uncertain terms that his favorite color is yellow.
Still from Le Palette de Van Gogh. Image: © Lucid Realities – TSVP – Musée d_Orsay – VIVE Arts.
Elsewhere, visitors are invited to explore “La Palette de Van Gogh (Van Gogh’s Palette),” the museum’s first V.R. offering. The exhibit plays to Van Gogh’s legacy as one of art history’s most vibrant colorists by using his final palette from his time living in Auvers as a portal to transport visitors out of the gallery and into a palette-inspired landscape, developed thanks to ultra-high-resolution scans of the object’s surface. Traversing the painterly daubs of color that remain stuck to the board over 130 years since Van Gogh’s death, visitors are shown how these vivid hues match up to those present in some of the artist’s masterpieces. In more surreal scenes, isolated brushstrokes leap from the palette and flutter through the air like confetti or a flock of tiny birds before landing on a canvas in perfect formation to make a finished painting.
“Artist tools can often fall to the wayside of art historical discourse but have the capacity to offer a rich insight into the artist’s work and process,” said Celina Yeh, executive director of VIVE Arts, which produced the V.R. experience, in an email. “A high-resolution scan of the palette forms the basis of an imagined virtual landscape inspired by the painter’s world and use of colour, allowing visitors to have a uniquely interactive and sensory experience of the artist’s major works from this period.”
Still from Le Palette de Van Gogh. Image: © Lucid Realities – TSVP – Musée d_Orsay – VIVE Arts.
The journey through Van Gogh’s unique visual language is narrated by Marguerite, a daughter of Van Gogh’s homeopathic doctor Paul Gachet, who Van Gogh painted twice in 1890. The Gachets’ sitting room, where Marguerite posed, has been recreated for the V.R. experience with the help of Van Gogh expert Wouter van der Veen. Though she was just 19 when they met, Marguerite had the foresight to hold onto Van Gogh’s last palette, which she donated to the French state in 1951 before it was given to the Musée d’Orsay.
“The imagined perspective of Marguerite Gachet, further invites the viewer to consider what Van Gogh’s life would have been like in his final days, the places and people he would have encountered and that feature in some of these paintings,” according to Yeh. VIVE Arts made the experience in collaboration with the Paris-based production companies Lucid Realities and Tournez s’il vous plaît. An extended version with a wider range of works by Van Gogh is being prepared for global release in 2024.
Despite the complete nosedive of interest in NFTs, the museum will also be offering collectibles made by digital artists who have been inspired by the show as part of its first foray into Web3. This endeavor launches a year-long partnership with the Tezos Foundation.
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Queens, New York has hosted the World’s Fair twice: once in 1939, and then again in 1964. Now the borough is home to something else: “The World’s UnFair,” a feverish carnival of attractions that evoke the look of those old 20th-century expos—but not their nationalistic aims. New Red Order, the group of Native artists behind the public art project, has an altogether different agenda in mind: the return of all Indigenous land.  
The Creative Time-presented exhibition opened this month in a raw, half-block lot that is owned by a developer, but not yet developed. In theory, that sense of provisionality teases the possibility that the site could be restituted. For now, it feels like it’s been hijacked. Wheatpaste posters styled like men’s magazine ads tote “rematriation services” on the lot’s walls. So do sandwich boards inside. Tribal flags are staked in Home Depot buckets and strung like banners at a car lot. A film, pitched like a corporate commercial, reminds us to “Never Settle.” It plays inside a sculpture that is half cheval de frise, half white picket fence, while an animatronic beaver and tree chat about settler colonialism nearby. 
This is a body of work that is not afraid to hit you over the head with what it has to say, even if that means mocking pockets of its audience along the way. But the cumulative effect is powerful. It’s the most essential show in New York right now. 
New Red Order, Dexter and Sinister (2023). Courtesy of New Red Order and Creative Time.
New Red Order defines itself as a “public secret society composed of networks of informants and accomplices dedicated to rechanneling desires for indigeneity towards the expansion of Indigenous futures.” If that description sounds elaborate, it’s because it was designed that way. “We don’t want to be contained to just being an art collective,” New Red Order said in a recent interview. (The three founding founders interviewed for this article—Adam and Zack Khalil, both of the Ojibway, Sault Ste. Marie Tribe of Chippewa Indians, and Jackson Polys, of Tlingit heritage—prefer to be identified under the collective banner of the group.)  
The language of the mission statement is also coded with New Red Order’s argot. By “informants,” it means people who share knowledge of their own communities and cultures. “Accomplices” are those who support informants. The shadowy tone of it all echoes, with knowing irony, the group’s namesake, a 19th-century white fraternity called the “Improved Order of Red Men.” (The organization, which once counted Presidents Warren Harding and Franklin Roosevelt as members, often used Native designs and rituals.) 
But not all of New Red Order’s messaging is that complicated. The group’s central refrain—and the title of its main, ongoing body of work—leaves little room for misinterpretation: “Give it back.” It is both a provocation and a demand: Give back all land to the peoples who were forcibly displaced from it by colonialists. Give it back now.  
Installation view of “New Red Order: The World’s UnFair,” September 15 October 15, 2023. Courtesy of New Red Order and Creative Time.
Throughout “The World’s UnFair,” you’ll find variations of that message presented through the visual language of agitprop, infographics, recruitment videos, real estate placards, and other pieces of media that, in their ordinary states, are used to sell the idea of a better life. Many of these works also feature the same recurring character, played by veteran actor—and frequent New Red Order collaborator—Jim Fletcher. He is the apparent ringmaster of this weird pageant, but also something of a mascot. The group first met the white actor after he donned Native American garb in a 2014 stage Wooster Group play called “CRY, TROJANS!” The incident stoked backlash among Native communities. 
Regretful of the decision, Fletcher—who now identifies as an “accomplice” and a “Native American impersonator”—has since given himself over to a number of New Red Order projects. For a 2017 Artists Space performance conceived by the group, he stripped naked, put on a department store “Indian” costume, and apologized for his role in “CRY, TROJANS!” Even when the joke is on him, Fletcher, to his credit, is game. 
“It’s Jim Fletcher playing Jim Fletcher,” New Red Order said of the layers to the actor’s performance in “The World’s UnFair,” referring to him as a proxy. “If we say ‘Give it Back,’ I worry that it gets dismissed by many people. But if a successful middle-aged non-Native performance artist says it, maybe it has a chance of making it out of the echo chamber.” 
Installation view of “New Red Order: The World’s UnFair,” September 15 October 15, 2023. Courtesy of New Red Order and Creative Time.
With its puppets and punny riffs of self-help speak and jingoistic lingo, “The World’s UnFair” is very funny (one banner reads “Mission Accomplice,” referencing the infamous George W. Bush proclamation). The tone is a welcome twist on the solemnity that typically categorizes projects about indigeneity or repatriation, though it has its risks as well.  
“At times, humor has been a roadblock for some people to engage, because they don’t want to be made fun of,” said the group. “We find it’s a necessary way to engage, to crack open really uncomfortable conversations in ways that don’t lead to the expected places, to keep people on their toes… so they can’t easily categorize it in ways that they already understand.” 
But in putting together “The World’s UnFair,” New Red Order’s members also found themselves drawn to an earnestness that hasn’t always been present in their past work. Playing on several screens throughout the show are examples from their ongoing Give It Back series of documentary-style films highlighting people who have voluntarily repatriated land to Indigenous communities, tribes, or non-profits. Surrounded by works barbed with wit, these clips have a refreshing sincerity. 
“We found a need to [lean] a little bit more toward sincerity and transparency,” New Red Order explained. “That way, the real, powerful actions that real people are taking to address settler colonialization and the ongoing occupation of Indigenous land isn’t disregarded as a fantasy or as a joke, but seen as something real.” 
“New Red Order: The World’s UnFair” is on view now through October 15, 2023 at 24-17 Jackson Ave. in Long Island City, Queens.
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Hold onto your cowboy hats. This is no ordinary Western art show.
The simply titled “Cowboy” opens at the Museum of Contemporary Art Denver on September 29 and it’s sure to garner major attention in the Western U.S. and beyond.
The show, organized by curators Nora Burnett Abrams and Miranda Lash, takes aim at the mythic figure, which they describe as “one of the most fraught and persistent figures in contemporary American culture.” The show raises questions such as how the myth of the cowboy exists today and how this archetype of masculinity shaped how we think about gender now. It further delves into cowboys’ relationship to the land through a series of broad perspectives and aims to debunk the homogenous concept of the cowboy as a white male.
Karl Haendel, Rodeo 11 (2023). Image courtesy the artist and Vielmetter Los Angeles, Mitchell- Innes & Nash, New York, and Wentrup Gallery, Berlin
“There is no mythic figure who is more grand and complicated than the cowboy,” said Burnett Abrams in a phone interview. Originally, she said, she was looking into the history of the Black cowboy, but over the course of years of conversations, the concept was broadened.
“We approached it from all angles,” said Lash, including very much from the side of satire and critique, but also from the perspective of “homage,” with artists incorporating the stories of their own family members. “The stories range from the deconstructive impulse to the very personal. Cowboys are just so much more diverse than what gets depicted in the mainstream media.”
While the show starts with some classic blue-chip names and works like a John Baldessari (The Space Between Hat Rock and Shadow), Richard Prince’s famous Marlboro Man photo, and Andy Warhol’s film of a horse, it quickly delves into the contemporary and ultra-contemporary realm with 27 artists spanning 70 works.
Stephanie Syjuco, Set Up (The Broncho Buster 2) (2022). Image courtesy the artist, Catharine Clark Gallery, San Francisco; RYAN LEE Gallery, NewYork; and Silverlens, Manila.
Take for instance Stephanie Syjuco’s photographs of Frederic Remington’s famous bronze sculptures of bucking broncos in the Amon Carter collection that depict them being measured with tape and alluding to the popularity of—and poking fun at—the sculptures and replicas on CEO desks across the country as symbols of bravura. “She jokes about how it’s such a popular bronze on the desks of corporate executives because it connects so deeply with this idea of the rugged individual, the entrepreneur, the man who sets his own terms,” said Lash.
The two curators said the tagline for the show could be: “This is not your grandfather’s Remington.”
Another topic that the show tackles is the “very problematic binary of the cowboy versus Indian, which is just an invention,” said Burnett Abrams.
Grace Kennison, I Remember Being Alone (2023). Image courtesy the artist.
One of the artists included in the show is Oklahoma native Nathan Young, whose art delves into his family history with parents who are of the Pawnee and Delaware Tribe. The multi-disciplinary artist delves into Pawnee rodeo culture in this series of work in the show.
And four contemporary artists, including Rafa Esparza, Young, and Colorado-based artists R. Alan Brooks and Gregg Deal were commissioned to make work for the show.
“There are those who are Native American or are of Native American descent who actively participate in cowboy culture,” said Lash. “There is not that distinction or binary.”
Burnett Abrams said: “Our ambition is to expand the story and I think that for those who are ready to be a part of that, it’s going to be amazing.”
“Cowboy” is on view at MCA Denver, 1485 Delgany Street, Denver, through February 18, 2024.

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When the animal kingdom met the artistic imagination, the result was a whole zoo full of fantastical creatures from dragons to unicorns, phoenixes to sphinxes. These strange mythological beasts haven usually taken on symbolic significance, and reappeared time and again in art made by different cultures across time, as shown by an ambitious new survey of more than 250 objects opening this fall at the Louvre-Lens.
This wide-ranging, whistle-stop tour starts off in the Bronze Age. The oldest surviving fragments of cave art are proof enough that humans have long been driven to depict the wonders of the natural world, but it wasn’t long before we started taking a bit of creative license. One of the show’s earliest exhibits, a Mesopotamian seal cylinder that dates back to 3300–3000 B.C.E., features a lion-headed eagle.
As pagan beliefs died out in favor of modern religion, biblical tales still kept audiences in awe by having their brave saints slay the same dragons that had once been popularized by ancient Greek mythology. Majestic, make-believe beasts were not always our adversaries, however, but often had magical powers of healing or protection.
The exhibition won’t leave visitors in the dark ages, but instead goes on to explore how mythological creatures have continued to enthrall new audiences. It turns out that the wild visions of Romantic artists like Henry Fuseli and the Pre-Raphelite painter Edward Burne-Jones have plenty in common with the science fiction and comic books that are so popular today.
“Fantastic Animals” is on view at Louvre-Lens, 99 Rue Paul Bert, 62300 Lens, France, from September 27, 2023 through January 15, 2024.
Preview artworks from the exhibition below.
Jean Gargot, Big Ghoul (1677). Photo: Christian Vignaud, © Musée de Poitiers.
Nicolas Buffe, Peau de Licorne (2011) Photo: © Cité internationale de la tapisserie, Aubusson, © Nicolas Buffe.
Jean-Auguste-Dominqiue Ingres, Roger freeing Angelica (1819). Photo: Franck Raux, © RMN-Grand Palais (musée du Louvre).
Figurine of the demon Pazuzu (911-604 B.C.E.). Photo: Thierry Olivier, © Musée du Louvre, Dist. RMN-Grand Palais.
Will Cotton, Roping (2019–20). Photo courtesy of the artist and Templon, Paris-Bruxelles-New York, © Will Cotton © ADAGP, Paris 2023.
Henry Fuseli, Thor fighting the serpent of Midgard (1790). Photo: © akg-images, Royal Academy of Arts, London.
Molding of a relief depicting a mythological scene, (c. 1200-1100 B.C.E.). Photo: Raphaël Chipault, © Musée du Louvre, Dist. RMN-Grand Palais.
Paolo Uccello, Saint George Fighting the Dragon (c. 1440). Photo: Agence Bulloz, © RMN-Grand Palais.
Thomas Grünfeld, Misfit (flamingo-pig) (2005). Photo: © Galerie Jousse Lothar Schnepf © ADAGP, Paris, 2023.
Gustave Moreau, The traveler or Oedipus the traveler (1888). Photo: René-Gabriel Ojeda, © RMN Grand Palais.
Walter Andrea, Dragon-serpent on Ishtar Gate (1902). Photo: Andres Kilger, © BPK, Berlin, Dist. RMN-Grand Palais.
Cylinder seal depicting lions and an eagle (3300-3000 BEC). Photo: Franck Raux, © RMN-Grand Palais (Musée du Louvre).
Edward Burne-Jones, The Doom Fulfilled (1884-1885). Photo: Paul Carter – Bridgeman Images, © Southampton City Art Gallery.
An acquamanile (vessel). Photo: Jean-Gilles Berizzi, © RMN-Grand Palais (Musée du Louvre).
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