Art historiography in the American Midwest often relies on preservation institutions that consolidate particular versions of the past. This year, the Taft Museum of Art subjects its founding narrative to review through the integration of “domestic” aesthetics into the historical texture that defines it.

A few weeks ago I met Leticia Sánchez Toledo (Cabaiguán, Cuba, 1985). The friend of a friend who is turning into a friend. We are somewhere inside that passage.
The first time I saw her work was in her living room. Some paintings hung on the walls. Others rested on the floor, leaning against pieces of furniture, as though they had not quite finished deciding where to be...

On March 25, we published a commentary on a prize awarded to a retired British schoolteacher for a photograph taken in Southeast Asia during an ordinary vacation.
The image presents the face—deeply etched by the wrinkles wrought by sun and exposure—of an elderly man with a faintly wry expression.

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The winner of the 2026 London Camera Exchange (LCE) Photographer of the Year competition is a retired teacher who captured the award-winning image while on holiday in Southeast Asia. The scene was shot in Hoi An, on Vietnam’s central coast, as she photographed a fisherman at work. The author notes that the moment in question sealed the playful end of the encounter and helped her stand out among more than 14,500 participants.

Persistently, and since the most remote antiquity, the moon has acted as a trigger for the human imagination. It has agitated artists and writers, the deranged of every kind, poets, philosophers, spiritual beings, night wanderers—but above all, lovers. Perhaps because it casts that faint light which outlines the features of the desired body: the point of light, the delicate glimmer that ignites along the maiden’s lower lip...

There are artists whose work is born of skill; others, of obsession; others still, of a wound. In Aaron Kent, all three converge. His practice resists reduction to any single discipline or stable technique. Although it may be inscribed, under a taxonomic logic, within the territories of ceramics, printmaking, or sculpture, the truth is that his work moves through far more uncertain zones.

I have developed a faint affection for photography competitions. I go through them with an almost childish curiosity, looking for the good photographs the jury overlooked and the bad ones it chose to reward. In the latest issue of Camera Craft, its sixty-ninth, for March and April of this year, some of the results are published from the competition that The Guild of Photographers organizes annually.

Everyone in Cincinnati’s artistic community knows Katherine Hurley. They have for a long time. In my own case, for just under ten years. And we all know her solid career and her exceptional body of work, delicate and subtle as few others.
I have always found it difficult to comment on the genre of landscape. Not because I do not like it, but because, when it reproduces what nature itself has taken millennia of patient execution to achieve...

Dressed in red, barricaded behind a mask crowned with feathers as red as the dress itself, the visual artist Cirenaica Moreira (Havana, 1969) waited, seated on a stool, for the attendees of the performance—scissors in hand—to cut the hearts fastened to the dry, gilded branches she held.