#46/47
- Contributors
- Max Rivlin-Nadler, Ellie Glass, Aaron Timms, Thomas de Monchaux, Timothy Rohan, Samuel Stein, Cea Weaver, Jonathan Tarleton, Danielle Jackson, Moses Gates, Whitney Mallett, Olivia Oldham, Eric Schwartau, Sophie van Well Groeneveld, Justin Beal, Andreas Petrossiants, Elvia Wilk, Greta Rainbow, Francis Northwood, Michael Friedrich, AJ Artemel, Travis Diehl, Moze Halperin, Mark Krotov, Marianela D’Aprile, Michael Casper, Jessica Fletcher, Owen Hatherley, Christopher Hawthorne, Nolan Kelly, Phil Coldiron, Allison Hewitt Ward, Jake Romm, Huw Lemmey, Charlie Dulik, Nicolas Kemper, Clare Fentress, Ian Volner, Sue Park, & Willa Glickman
- Editor
- Samuel Medina
- Deputy Editor
- Chloe Wyma
- Publisher
- Nicolas Kemper
- Associate Publishers
- Nicholas Raap & Lari Rutschmann
- Art Director
- Laura Coombs
- Digital Director
- Seth Thompson
- Cover Illustrator
- Sean C. Suchara
- Illustrators
- Hannah Robinson & Benoit Tardif
- Operations
- Michael Piantini & Alam Alidina
- Contributing Editors
- Marianela D’Aprile
- Copy Editor
- Nick Murray
- Proofreader
- Don Armstrong
- Editorial Fellow
- Olivia Oldham
Articles
The renovated home of the Frick Collection gives you up, lets you down.
Can architecture be remade in venture capital’s image?
Minecraft yearns for an eschatology that could give the metaverse meaning.
Somehow, heartbreak feels good in a place like this.
Nobody knew why it was in the basement, but they all knew it was important.
Reviews
Severance is created by Dan Erickson and executive produced by Ben Stiller. Seasons 1 and 2 are streaming on Apple TV+.
Saarinen’s caliginous Crystal Palace is the ideal headquarters for Severance’s vision of corporate supremacy.
The MTA redesigned subway map was released in April. It is adapted from the Unimark map (1972) by Massimo Vignelli, Bob Noorda, the Unimark International Corporation, et al., and the Weekender digital map (2011) by Vignelli, Beatriz Cifuentes, and Yoshiki Waterhouse.
Somewhere in the MTA, someone was listening.
Emergent City, directed by Kelly Anderson and Jay Arthur Sterrenberg, was on at DCTV’s Firehouse Cinema from April 25 through May 18, 2025.
Five years on from its conclusion, the fight over Industry City continues to have repercussions in New York’s political firmament.
The Twilight of Bohemia: Westbeth and the Last Artists of New York by Peter Trachtenberg. Black Sparrow Press, 344 pp., $30.
The Westbethians will turn the lights off on Village bohemia.
Building the Metropolis: Architecture, Construction, and Labor in New York City, 1880–1935 by Alexander Wood. University of Chicago Press, 496 pp., $35.
Wood’s wall-to-wall chronicle of New York’s building booms exposes the limits of an architectural history focused solely on architects.
Twentieth Century Architects and Victorian Architects, published by various authors beginning in 2009. RIBA Books/Liverpool University Press/Historic England, $34.
Everywhere ought to have a series like this.
Building Culture: Sixteen Architects on How Museums Are Shaping the Future of Art, Architecture, and Public Space by Julian Rose. Princeton Architectural Press, 368 pp., $35.
According to Julian Rose, art museums today “effectively enjoy a monopoly on aura.”
Laura Owens was on view at Matthew Marks Gallery from February 14 to April 19, 2025.
Laura Owens has long held an interest in the possibilities of installation. But what did she do with that here?
CECOT, El Salvador’s mega-prison, opened in January 2023.
The image of CECOT tempts critique only to anesthetize it.
The Politics and Poetics of Everyday Life by Kristin Ross. Verso, 320 pp., $30.
The Commune Form: The Transformation of Everyday Life by Kristin Ross. Verso, 144 pp., $20.
Shifting her focus away from the French capital, Kristin Ross dares her readers to look anew at the capital-E Event we tropify as May ’68.
Joyspace by Adam Rolston. Pacific, 112 pp., $35.
This is diet Debord, a sort of scrollable Situationism delivered through Canva slides with the nasty political economy taken off.
