Walker Mimms

The most thematically permissive fair in New York’s art schedule — where sofas compete with paintings and sculptures — brings up old questions about why we like objects.

One of America’s finest memoirists, in photos and in prose, is at the peak of her powers in “Art Work”— and wondering if her pictures will survive.

For an ambitious double-gallery debut, the Canadian painter improvised her way through glistening, musical, bulging and hideous fantasias on linen and on walls.

“Rogues and Scholars,” James Stourton’s erudite and authoritative history, doesn’t spare the color.

In “Stan and Gus,” Henry Wiencek explores the creative highs and private peccadilloes of the architect Stanford White and the sculptor Augustus Saint-Gaudens.

The artist’s first museum tour luxuriates in the spacious and sophisticated folk-modernism he left behind, even as it unevenly canonizes a painter of the millennial era.

Thousands of tourists are descending on Aix-en-Provence, France, with the aim of knowing the elusive painter better.

Since the 1970s, the Rencontres d’Arles has been the place to debut the art form’s latest developments. This year’s edition had a more retro feel.

Tanowitz’s new dance, made with the painter Sarah Crowner and the composer Caroline Shaw, premieres at the Fisher Center at Bard College.

A new book of photographs captures the landscapes, buildings and faces along the route that once conveyed untold wealth between Europe and China.