Articles

MONUMENTAL GRAFFITI & GLITTERACY
RETNA's indecipherable language of pop power

The glittering paintings wouldn’t be out of place in Giza or Athens or Persepolis. RETNA’s bold scripts are the kind that shout down at you from the tops of ancient monuments. Sometimes elements of the painted characters resemble ancient Egyptian hieroglyphs, sometimes Arabic calligraphy, sometimes a more European-looking, Knights Templar-esque code of crosses and keys. The texts of RETNA’s...

DUELLING REVIEWS: MARILYN MINTER
at Regen Projects

by Janelle Zara, Peter Frank

ARTIST TAKEOVER: DEIRDRE O’DWYER & MOLLY ZUCKERMAN-HARTUNG

by Deirdre O'Dwyer, Molly Zuckerman-Hartung

COLLECTING THOUGHTS (print exclusive)
Jessica Fredericks & Andrew Freiser

by Artillery Staff

Tell us about yourself: We see ourselves as both gallerists and collectors. Since opening Fredericks & Freiser in 1996, we’ve spent nearly thirty years championing and collecting idiosyncratic, psychologically charged work. Our personal collection has been built slowly and with real intention, reflecting a long-term commitment to building depth within a core group of artists. Q&A: Q:...

AN ARTIST ANSWERS QUESTIONS
Carolina Fontoura Alzaga

by Artillery Staff

Tell us about yourself I explore reclaiming personal and collective agency in a world that erodes it, often through sculpture and light. Lately, I’vebeen returning to painting and collage and trying ceramics to loosenconstraints and follow what emerges—from reclaimeddesire to intuitions still forming. Top 3 songs? “Azotea”—Luisa Almaguer, “Funnel of Love”—Wanda Jackson, "New...

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Reviews

SANDRA VASQUEZ DE LA HORRA
at Institute of Contemporary Art, Los Angeles

Few exhibitions make the gap between the United States and the rest of the world’s art capitals so blatant than “Sandra Vásquez de la Horra: The Awake Volcanoes” at Institute of Contemporary Art, Los Angeles. Pegged as the artist’s solo debut in the US, the exhibition...

ZOE KOKE
at Wolfpack HQ

I saw the sun saved and erased at the same time. In Zoe Koke’s recent paintings, oil becomes a way of holding sun. Here oil paint behaves like a desert light fixed in place, absorbing rather than illuminating. In one of her new paintings, Rainbow (2026), the desert...

Amelia Lockwood (quick review)
at Morán Morán

Amelia Lockwood’s ceramics push up against the natural constraints of their medium in novel ways. Rather than the earthbound, closed forms associated with this medium, we get vine-like, open lattices, expanding outward from a central axis. These echo Rococo decorative...

Terry Powers (quick review)
at Guerrero Gallery

Powers’ paintings—which range from landscapes to still lives to paintings of mechanical detritus—recall Impressionism, albeit in its most restrained instances: more Pissarro than Monet. That is, there’s a withholding quality towards light and a painterly restraint...

Zoe Alameda (quick review)
at Cheremoya

The centerpiece of this show is From Here On Out (2025): a large, ramshackle, free-standing, scrap-wood armature supporting two plexiglass panels, embedded with four small assemblage-paintings, themselves containing collaged, miscellaneous photographic imagery...

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