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Tesfaye Urgessa, The Strange Host, 2022, oil on canvas, 90 1⁄2 × 78 3⁄4".
Tesfaye Urgessa’s The Strange Host, 2022
"My Last Will"
“My Last Will” at Casino Luxembourg
Jordan Nassar in his studio
On Palestinian embroidery and diasporic identity
Natacha Donzé, Warning signal, 2024, acrylic on canvas, 70 7/8 × 51 1/8".
Critics’ Picks
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Spotlight on select Summer Advertisers
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Saj Issa, Plein Air Performance, 2024, HD video, color, sound, 4 minutes 35 seconds.
Saj Issa, Plein Air Performance, 2024, HD video, color, sound, 4 minutes 35 seconds.
Videos
Zsofi Valyi-Nagy discusses the art of Vera Molnar with Artforum’s West Coast editor Bryan Barcena in Los Angeles in May 2024.
On the legacy of Vera Molnar
SUMMER HOMEPAGE
Under the Cover
On the brand identity of SpaghettiOs and the importance of total artistic freedom
Columns
Art Basel.
Succession speculations at the 54th Art Basel
Liam Gillick.
On the artist’s novel
JOB.
On the stage’s therapeutic turn
Film
Megalopolis.
Odes to cinema abound at the Seventy-Seventh Cannes Film Festival
Working Girl (1988)
Re-viewing Mike Nichols at the Cinémathèque française
Jean-Pierre Melville, Le Samouraï, 1967, 35 mm transferred to 4K, color, sound, 105 minutes. Jef Costello (Alain Delon).
Jean-Pierre Melville’s Le Samouraï shines in new 4K cinematic release
From the archive
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September 1984
In celebration of the Fourth of July, Artforum revisits Jean Baudrillard’s “Astral America,” the French philosopher’s disquisition-cum-travelogue chronicling a journey across the United States. Shifting between giddy wonder and sputtering spleen, the onetime Artforum contributing editor meditates on such ur-American phenomena as Halloween (a “sarcastic holiday”), the New York Marathon (“an end-of-the-world spectacle”), and the eastern gray squirrel (“a fierce and frozen being whose fear lies in wait for you”). “This American universe,” he concludes, “rotten with wealth, with power, with senility, with indifference, with puritanism and mental hygiene, with misery and waste, with technological vanity and useless violence—I cannot stop myself from seeing in it the morning of the world.”  —The editors
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