Deborah Krieger

While the overall effect of "Thingness" might come across as scattered to a casual observer, it is in fact a carefully wrought exploration of Yingmei’s own complicated relationship with speech and with communication, using meaningful objects as vessels for the words she has always struggled to express.

On the whole, "Artists In Residence 2016" lacks a larger cohesive theme or formal unity.

The Handmaid’s Tale, within the context of the show, clearly gives lie to the idea that all women are bound together by some vague idea of sisterhood, but the extra-diegetic aspects of the show’s non-approach to racial issues don’t reflect this keener approach to solidarity.

Despite some truly eye-catching and satisfying motifs and rhythms created by clever juxtapositions, the displays, taken on the whole, are a bit uneven.

Kreyn creates an eye-catching dialogue between the narrative content and the medium of a given work.

The focus rightly remains on the eight core leads, and the ten episodes of season two do an admirable job of expanding each character’s storylines, goals, and emotional depths without dipping into too many detours.

Pichler walks a fine line between scientific curiosity about the utility of these rituals and gentle mockery of the blatantly consumerist aspects involved in these “esoteric” belief systems.

"The goal with Re-gayze has, and always will be, dissemination and (an attempt) at education. It is absolutely crucial that queer people understand themselves as a part of art history, both as subjects and artists."

Even if the curator is not working side-by-side with the artist as equals, they still have an incredibly important job in figuring out how to connect the artist to the audience.

Timeliness of its themes and message aside, The Handmaid’s Tale is absolutely worth watching for the quality of the show on its own merits.

When describing her show, "Go Home," Friedman grows particularly thoughtful. Her words and intentions for this exhibition are informed not only by her artistic background but also by her studies in politics as an undergraduate.

Georgia O’Keeffe ultimately provides a wide-ranging and visually sumptuous Austrian introduction to the artist and her work. Indeed, in an effort to avoid putting her in a box, the curators wisely chose to go broad and try to include a little bit of everything—her early years, her flowers, abstract works, and her later paintings inspired by her New Mexico desert setting.

Even if giving Tina Goldstein a Jewish star necklace in the next Fantastic Beasts movie doesn’t solve all of our problems, at least it will be a start.

Arrival breathtakingly chooses to focus on the inherent meaning of communication and connection.

Powley’s excellent work makes Carrie not only someone I feel could be real, but someone I actually find too close for comfort.