Criticism
Review: ‘Our Father’ and Society’s Obsessive Fascination with Bad Dads
Alfredo Jaar’s ‘The Temptation to Exist’ at Galerie Lelong Bit Off More Than It Could Chew
Review: Beanie Feldstein Grabs the Spotlight, Unsteadily, in ‘Funny Girl’
The ‘Whitney Biennial 2022: Quiet as It’s Kept’ Is Anything but Quiet
Review: ‘Elektra’ at the Met Opera With Nina Stemme and Lise Davidsen
Review: Is It Worth Checking into ‘Plaza Suite’ on Broadway?
Takesada Matsutani’s “Combine” Explores Process at Hauser & Wirth
Aleksandra Kurzak Left Much to Be Desired in the Met Opera’s ‘Tosca’
Sadie Barnette’s ‘The New Eagle Creek Saloon’ Commemorates Black Queer Life
The Met Opera Takes on Doomed Love and Inquisition in ‘Don Carlos’
Tomás Saraceno and the Spider Experience at The Shed
Three Exhibitions in New York City of Seven Western African Artists
Etel Adnan’s Final Lines in “Discovery of Immediacy”
Scapegoat: Gretchen Felker-Martin’s ‘Manhunt’
PRISM Quartet’s Brilliant, Uncanny ‘Mending Wall’ Premieres at Roulette
Double Diva: Renée Fleming and Sonya Yoncheva Perform at Carnegie Hall and the Met
Immersive Art Experiences in Las Vegas: Screensavers by Any Other Name
The Met’s ‘Rigoletto’ Brought in 2022 Against All Odds
Real Men Read Nonfiction: Siri Hustvedt’s ‘Mothers, Fathers, & Others’
