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Fragile Beauty at Hillwood, Preoccupied at the BMA, Connie Imboden and Mark Kelner at the Katzen, and The Subversive Thread at Academy Art Museum
Surprises in the art scene are uncommon enough that discovering a brand-new gallery tucked away on the third floor of Maryland Art Place during a recent Bromo Arts Walk was a delight—made even better by the strength of the group show on display.
While I have more than 50 years of experience in and around theaters, I was ill-prepared for an evening of the most experiential musical performances I have ever heard or seen.
Katherine Pon-Cooper’s "Circle in Circle: Compulsion" is a conceptually tight and handsomely executed show mounted in MICA’s Pinkard Gallery.
Armory Week in New York is overwhelming. We asked Chelsea insider Dylan Farley to share her "must-see" picks, including a group show of Baltimore artists curated by Derrick Adams.
With Babble, Babble, a provocative gathering of a decade’s worth of his work, Antoine Catala (Toulouse, France, b. 1975) powerfully orchestrates a dystopic display of language as a failed tool for human understanding and community.
This iteration of MAP's annual showcase of new regional talent reminds us why seeing artworks and artists in-person is vital, sprawl be damned. The exhibition closes Saturday, September 7.
Summer '24 at C. Grimaldis Gallery, Monica Ikegwu at Galerie Myrtis, Inaugural Exhibition at The Crow's Nest, Balancing Acts at The Peale, and Esther Kläs at CPM Gallery
Two DC exhibitions take contrasting approaches to understanding the artistry, lives, and enduring relevance of these legendary American artists.
The Washington Post is cutting their ongoing Galleries column, a loss to local readers, artists, and audiences.
The winner of the 2024 Janet & Walter Sondheim Art Prize, chosen by this year’s jurors, will be announced during a special reception and award ceremony at the museum on Thursday, August 22.
From maternal domestic labor and caregiving to childlike wonder, four visually distinct practices evoke a range of visceral associations.
Seph Rodney, visiting curator, at CPM Gallery, talks about Chakaia Booker, Leonardo Drew, and Trenton Doyle Hancock
Multiplicity is not a show about Black collage, it’s about Blackness in American collage which is entirely different.
How else could Baltimore properly honor the legacy of Elizabeth Talford Scott, but with radical unconventionality, centering community and accessibility?