Peter Schjeldahl

A spectacular show of art and documentation at the Jewish Museum captures New York in 1962-64, an era of near-weekly advances in all of the arts.

A clamorous retrospective of the painter Robert Colescott, and “Women at War,” a show of contemporary Ukrainian artists, unsettle and inspire.

In a show at MOMA on the artist’s 1911 painting, aesthetic bliss saturates the means, ends, and very soul of a style that was years ahead of its time.

The premier artist in Henry VIII’s court, Hans Holbein the Younger was a hired-gun celebrant. Five centuries on, his paintings stun anew.

The ever-startling creations of the artistic and philosophical provocateur look back in spirit, if not in appearance, to the sublimity of ancient Greek art.

The Swiss artist, an early member of Dada, played an integral role in the emergence of nonfigurative art, whether she was using a brush or a needle.

MOMA PS1’s survey show of New York artists could use a watchword related to “avant-garde”—perhaps whatever the French for “sideways-garde” might be.

The Norwegian artist, a younger contemporary of Munch, is largely unknown outside Norway’s borders. That should change.

Three things made the late-pandemic Frieze New York a tonic: the joy of seeing works in person, the smaller number of galleries, and face masks.

A show of leading Black artists at the New Museum powerfully channels emotional tenors that are true to the history—and the future—of race in this country.