Aichi Triennale 2022: What Are Museums Really For?Mark RappoltArtReview27 September 2022Rather than acknowledge or exorcise the ghosts of previous scandals surrounding the 2019 Triennale, ‘Still Alive’ twists around to gnaw on its tail
Mounira Al Solh: What Makes and Breaks CommunityMark RappoltArtReview01 September 2022‘A day is as long as a year’ at Baltic Centre for Contemporary Art speaks to a solidarity of suffering as much as it does to a solidarity of women
Here, There or Everywhere? 75 Years After PartitionMark RappoltArtReview Asia15 August 2022Meetings, non-meetings, Partition plans and the stories in between
Prem Krishnamurthy: What Can Art Actually Do?Mark RappoltArtReview20 July 2022Mark Rappolt speaks with the director of FRONT 2022 about art as a form of healing, the nature of representation and the (after)life of a show
Everything Fresh Becomes Rotten: ‘PRIME: Art’s Next Generation’ ReviewMark RappoltArtReview27 June 2022What can Phaidon’s editors tell us about the state of art right now?
Pankaj Mishra’s Return to FictionMark RappoltArtReview13 June 2022‘Run and Hide’ is a riveting, excruciating examination of the unrealities we create and the unrealities that are imposed upon us
Little Bits of Everywhere: Ibrahim El-Salahi’s ‘At Home in the World’Mark RappoltArtReview10 June 2022The artist’s memoir reconciles his experiences with an examination of alternate definitions of ‘home’
