Louis Osmosis’s Sad AmericaJenny WuArtReview30 April 2024‘Queues’ at Kapp Kapp, New York is deeply self-aware, self-critical, self-sabotaging – and yet somehow quite endearing
Thomas Hirschhorn’s Philosophical WarJenny WuArtReview15 April 2024The artist’s single-work exhibition, ‘Fake it, Fake it – till you Fake it.’ at Gladstone Gallery, New York, captures our collective online disquiet
Whitney Biennial 2024 Review: Baby StepsJenny WuArtReview21 March 2024The 81st edition reflects the biennial’s own function as a time capsule – what do we want to say about our present reality?
The Interview: Yto BarradaJenny WuArtReview14 March 2024“I have a very Oulipo way of working. I give myself a constraint, and then I have total freedom in the margins”
Helen Marten’s Waste LandJenny WuArtReview01 November 2023‘Evidence of Theatre’ at Greene Naftali, New York wryly critiques how humans have stewarded the planet
Suchitra Mattai’s Perfect FutureJenny WuArtReview30 October 2023‘In the absence of power. In the presence of love’ at Roberts Projects, Los Angeles reimagines histories of migration and labour
cameron clayborn: No TresspassingJenny WuArtReview19 October 2023‘Private Property’ at Morán Morán, Los Angeles presents sculptures that enforce a discomforting sense of voyeurism
