#37

The 1980s are just around the corner.

Nixon joined us in the elevator.

Rafael Herrin-Ferri’s guidebook to Queens’ polymorphous saltboxes, shotguns, and McMansions is a romp through New York’s “global village.”

The “home sweet home” pillow of the medieval bourgeoisie

Care for a sip?

What happens when a revolutionary communist artist makes content for Amazon Prime?

The most striking thing about A.V. Marraccini’s new book on criticism is not that it is personal, or even intimate—it’s that it is, against all odds, uncynical.

In a time of multiple crises and an increased understanding of architecture’s complicity in spatial injustice, what and who is an architectural exhibition for?

Why would you put someone who didn’t think art was very good in charge of designing an art museum?

In his latest treatise, Pier Vittorio Aureli frames architectural production as a stand-in for the much larger and more complex system of economic production as a whole. The problems start there.

Getting to know City Island’s paper of record

Think about the climate crisis long enough, and the problem appears so vast as to be unthinkable. And yet, that’s what we must do.

Newly reissued, The Ideal Communist City presents an abstract dreamworld whose contemporary relevance is questionable, to say the least.

Dan Graham’s quirks were the stuff of legend. They’re also key to appreciating his artworks.

The Forest reads like a heady and roving literary essay, whose forays into art and environment have a “blink and you’ll miss it” quality to them.

ArchiPAC, the AIA’s campaign donation lobbying arm, spreads its dollars to both sides.

Any future for Penn Station must make use (and reuse) of its past.

Could the horizons be broader for architecture unions?

The housing crisis won’t be solved through any one approach, least of all a photography triennial.

The city’s planned deprivation of public toilets is the original hostile architecture.

Van Gogh’s Cypresses was as peak-Met as we’re likely to see in our lifetime

Barbie’s Dreamhouse and the architecture of controversy

A self-described Renaissance man wrestles with the legacy of his former Bushwick abode.

Can a profession that tends to take itself too seriously learn to play seriously?

This book is what happens when someone thinks the only reason they aren’t a professional writer is that they don’t have the time.

In New York, you can connect anything with anything, so long as you have the right connections.

People like a Yayoi Kusama because it looks like a Yayoi Kusama, i.e., polka dots.

An ideal summer read need not actually take place in the summer, but The Guest does it well.