Jan Van Imschoot’s Reputational AsymmetryMartin HerbertArtReview04 January 2024‘The End Is Never Near’, a retrospective at S.M.A.K., Ghent illuminates the work of a little-known figurative painter
Cian Dayrit’s AntiauthoritarianismMartin HerbertArtReview Asia18 December 2023‘Schemes of Belligerence’ at Nome, Berlin presents a seething counter-history of colonisation, revolution and militaristic control of the Philippines
Tolia Astakhishvili’s Unhappy HomesteadMartin HerbertArtReview17 October 2023‘The First Finger (chapter II)’ at Haus am Waldsee, Berlin mixes the Tbilisi-born artist’s orphaned works with collaborations and standalone artworks by 12 other artists
Slow-Motion Omnidirectional CatastropheMartin HerbertArtReview Asia11 October 2023Daido Moriyama’s Retrospective at C/O Berlin shows how the real world is scarier than photographs
What to Make of Harry Smith?Martin HerbertArtReview04 October 2023He defied convention and any kind of categorisation – and now he’s the subject of a major museum retrospective
‘The Slip’ Review: Not a Dead EndMartin HerbertArtReview29 August 2023How one street in Downtown New York became a centrepoint of artistic invention
Contemporary Art’s Midlife CrisisMartin Herbertartreview.com07 July 2023Seen when young, unseen in middle age, seen again as you get older. Does that sound familiar? If so, you may be an artist