In conjunction with her career retrospective now at Koffler Arts, Elana Herzog speaks with curator and longtime friend Jessica Stockholder about 1970s New York, the misunderstandings of formalism, and the evolution of a practice decades in the making.

The images of British photographer Nadia Lee Cohen are by now widely recognizable—for their mannered artifice and cosplaying celebrity subjects. But are they saying anything more than "Look at me"?

Adam Wolfond and his collaborators at Dis Assembly invite us to perceive and feel beyond the limits of the neurotypical “normal".

The survey exhibition Electric Op, now at the Buffalo AKG, reconsiders the short-lived and oft-derided Op art movement within a sixty-year trajectory of digital and new media art making.

The doubles and divided selves who populate the world of Severance are no less fragmented than the ones we inhabit everyday. Carl Wilson unravels the TV show's eeriest truths.

On the strained, surreal intimacies of Luca Guadagnino’s new adaptation of William S. Burroughs’ Queer.

Revisiting Cynthia Ozick’s writings on Helen Keller and Anne Frank, both included in the writer’s new career-spanning essay collection, are reminders that all Ozick’s tales feel like cautionary ones—it’s just not always clear what to avoid or how.

Linda Besner considers the tangled intimacies laying about in Annie Ernaux and Marc Marie’s The Use of Photography.

Jowita Bydlowska examines the beauty, grotesqueries, and defiant paradoxes of autofiction as performative act of literary self-exposure.

Actor, director, and playwright Christopher Morris on the intensive research and moral questioning behind his play The Runner, opening this week in a new production presented by Koffler Arts.