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BOOKS

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books
Some Fiction, Some Exposition: On Lynne Tillman’s Flaneurial Stories and Essays
"Side by side, the books make a case for the permeability of her fiction and her criticism; you can hear them like Pyramus and Thisbe whispering through walls"
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In Defense of Myth: On Daniel Spaulding’s Joseph Beuys and History
"Spaulding attempts to repair a critical vocabulary that has long known what to do with Duchampian skepticism, but is much less sure about Beuysian belief"
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BOOKS
Critical Mass: Harry Cooper on the Collected Writings of Michael Fried
“What still amazes me, and what I envy, is this: Fried intuited that his taste in contemporary art had a historical basis”
Close-up of Ben Lerner’s novel Transcription cover, designed as a sand-colored, rounded rectangle resembling a smartphone, with embossed title text and faint fingerprint marks against a dark background.
BOOKS
Ben Lerner’s Transcription and the Literary Readymade
The writer's fourth novel is a work of art for a new age of mechanical reproduction
By Gemma Sieff
Print May 2026
Lo Zoo, L’uomo ammaestrato (The Trained Man), 1968. Performance view, Amalfi, Italy, October 4–6, 1968. Left: Henry Martin.
BOOKS
Particular Mind
On Henry Martin: An Active Ear
The image shows a red background with text asking, "What is contemporary art for today? And what should it be for, if anything?" Below the text is a photo of an empty restaurant interior with tables, chairs, red booths, and hanging lights. At the bottom, it says "Perić Collection."
Books
Little Red Book
On What is Contemporary Art for Today?
By Theo Belci
Xinyi Cheng, Losing Oneself, 2023, oil on linen, 23 5⁄8 × 36 1⁄4".
Features
Polar Vortex
On Mi You’s Art in a Multipolar World
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