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Wilhelm Sasnal review – his wild juxtapositions are almost obscene

Polish artist Wilhelm Sasnal's new exhibition at Sadie Coles HQ in London presents a disorienting array of paintings. The works juxtapose disparate and often disturbing images, including a grotesque depiction of the Oval Office, portraits of his family, album art for the industrial band Throbbing Gristle, and a forest scene linked to the Holocaust, creating a deliberate sense of fragmentation and broken connections.

Sift Through the Hundreds of Pacifiers, Graphic Tees, and Spoons in This NYC Couple’s Collection

Multidisciplinary artists Bobbi Salvör Menuez and quori theodor, a couple living in New York City, have built an extensive collection of everyday objects including T-shirts, cassette tapes, spoons, pacifiers, and playing cards sourced from sidewalks, thrift stores, and shoot sets. Their collecting practice is intuitive and deeply personal, driven by nostalgia, childhood memories, and their bond with each other, treating each object as a talisman or treasure rather than a financial investment.

Genesis P-Orridge’s Subversive Mail Art Goes on View

A focused exhibition at Art Metropole in Toronto presents a selection of mail art submissions by the late transgressive artist Genesis Breyer P-Orridge to the Canadian collective General Idea in the 1970s. Drawn from the National Gallery of Canada's collection, the show features letters, collages, photos, and ephemera that capture P-Orridge's early, boundary-pushing work with collectives like COUM Transmissions and Throbbing Gristle.

david rimanelli willem de kooning cosey fanni tutti

Art critic David Rimanelli reviews Willem de Kooning's exhibition "Endless Painting" at Gagosian's 555 West 24th Street location, curated by Cecilia Alemani, running through June 24, 2025. The show spans de Kooning's career from 1944 to his final phase, though notably omits his black-and-white oil-and-enamel paintings from the late 1940s. Rimanelli expresses ambivalence, finding the show dreary and pointless despite the high caliber of individual works, and critiques the press release's focus on fragmented body parts. Separately, Johanna Fateman reviews Cosey Fanni Tutti's exhibition at Maxwell Graham, highlighting her controversial 1970s series "Magazine Actions" (1972–80), on view through June 28, 2025.