Maureen Paley reflects on the evolution of her gallery, which she opened in the front room of her Victorian terraced house in 1984 after moving to London from her native East Coast of the United States.

With tens of millions in China confined to their homes, galleries and institutions have likewise pivoted to online events.

Mohammad Salemy reviews the 58th Venice Biennale, May You Live In Interesting Times (11 May–24 November 2019), where 'Lithuania demonstrated how it is possible to be both socially relevant while pulling off one of the most likeable national pavilions in recent memory.'

My favourite artists are those who observe things that are not necessarily outside the realm of perception, but are outside the frames in which they should be considered perceivable.

MARGATE, England — Every year the Turner Prize judges trawl through dozens of exhibitions around the world to find new and fresh voices in contemporary art. The four nominees are then presented in a group show, and part-way through a winner is announced and awarded the £25,000 (~$32,000) prize. If the Turner Prize tries to capture the...

Young-Hae Chang Heavy Industries (Young-hae Chang and Marc Voge) How did you first encounter the work of Nam June Paik? Paik accosted us in Paris, on the rue de Seine, in front of his hotel, La Louisiane, during the open market. Then he ran up to his room and brought us back a catalogue of his current show.

All four artists nominated for this year's Turner Prize draw on political histories: some wide-ranging, others highly localized; one contained within the last decade, another drawing on a text from the early 15th century. With one subtle exception, none of them are directly exploring the themes that emerged after the electoral shocks of 2016...

We primacy vision: what we see, we take as truth. It may be cliché but clichés are colloquial truths, developed through relatable experiences that come to structure experience. When first drafting this review, I had begun: 'Imagine a silence...' but what is an image of silence? How can we even conceive of an image of an absent sense?