Patrick James Dunagan reviews Ted Berrigan’s Collected Prose.

On December 11, 2022, Caesura editors Gabriel Almeida and Patrick Zapien hosted a live-streamed conversation with Bloomington, Indiana-based painter Peter Shear.

“The betrayal of artists by society, their commitment to achieve through their efforts historical feats of the imagination and the myriad ways in which these are undermined, represents the real content of the film.”

This conversation of Alix Le Méléder with historian Nina Léger and philosopher Jean Daniélou originally took place at the artist’s home in Burgundy in the summer of 2015, four years after she had resolved to cease her activities as a painter.

On November 20, 2022, Caesura editors Gabriel Almeida and Patrick Zapien hosted a live-streamed conversation with Chicago-based painter Will Gabaldón.

On November 13, 2022, Caesura editors Gabriel Almeida and Patrick Zapien hosted a live-streamed conversation with Bristol-based painter David Abbott.

Harris Wheless reviews Damion Searls’ new translation of André Gide’s “Marshlands.”

Suzy V reviews Yesiyu Zhao's show "Journey to the West” at David Castillo Gallery in Miami.

Del O’Brien reviews Gala Porras-Kim's show "Correspondences towards the living object” at the Contemporary Art Museum St. Louis

Gabriel Almeida reviews Salman Toor's show "No Ordinary Love" at the Baltimore Museum of Art.

“But what they do experience, artists will share. If the means of their art set limits, they will seek to move those limits.”

Visiting the Noguchi Museum recently, I was struck by the difficulty of sculpture as art: how it's constrained by its physical presence to a degree that other media, like music, painting, and poetry, are not.

Kevin O’Rourke reviews the album Sons Of by Sam Prekop and John McEntire.

Genese Grill's introduction to her forthcoming essay collection, Portals (Splice).

Gilberto Perez’s commentary on history as seen through the lens of the filmmaker duo Straub-Huillet.

An 1891 interview with Mallarmé, translated from the French by poet Cid Corman.

Is interactivity really the same freedom that art is supposed to help us access?

Charles Ray is unquestionably one of the most powerful and challenging sculptors alive. His recent works presented at the Met carry within them a subtle and expansive understanding of space, a boundless wit and delicacy, and a deep sense of history.

After Effect — James Turrell’s latest “Wedgework” (recently presented by Pace) — takes up this question of the imaginary dimensions of time and space and their relationship to perception, memory, and thought.

The potential of this kind of work lies in its ability to pervert reality. This is not to say distort reality, to make it into a “cruel illusion,” but transform it: to manipulate and reconfigure reality according to one’s impulses and for its own sake.