Catalina Ouyang’s Torture GardenJenny WuArtReview11 June 2024‘Trick’ at Lyles & King, New York displays natural and industrial specimens as if they were fetish objects
‘The Harlem Renaissance and Transatlantic Modernism’ Review: Centre and MarginJenny WuArtReview22 May 2024A new show at The Met revives a time in which collaborative cultural production thrived not only from consensus but also from debate
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
