Ara H. Merjian

The two Piero Manzoni shows on view at Hauser & Wirth, "Materials of His Time" and  "Lines," inevitably bring to mind the ample exhibition Gagosian staged a decade ago.

The painter Hans Hofmann remains best known for his "push-pull" method, by which pictorial elements emerge, recede, and jostle in dialectical tension across a canvas's surface. A number of works on…

Tackling new experiments and pursuing his consistent themes in a range of mediums, Jasper Johns works with an alacrity that belies his eighty-eight years.

One hundred years ago, on the early morning of March 23, 1919, a small crowd gathered in the Piazza San Sepolcro in Milan, a few blocks west of the Duomo. Many had arrived from other cities the night…

A central fixture in New York's conceptualist Neo-Geo scene of the 1980s, Peter Halley's work all but disappeared from the city's galleries by the start of the '90s, and for the subsequent decade was…

Franz Gertsch's paintings are considered landmarks in his native Switzerland's postwar art scene.

At the center of the Surrealist imagination stood women. Or, more precisely, "woman": an idealized, eroticized figure created in the minds of men.

The nine oil paintings in Judith Eisler's first New York show in a decade (all 2017 or 2018) take their imagery full circle, in a sense: they portray shots from director Derek Jarman's film…

For this presentation of paintings by Domenico Gnoli (1933–1970), Luxembourg & Dayan gathered a selection of canvases that had never been seen in the United States or, in a few instances, had not…

Marlene Dumas's painting Drop (2018) is a close-up portrayal of a woman. Her skin has a faint blue tinge, and concentric rings surround her head, suggesting an aura or halo.