Kate Wagner

O’Keeffe’s New Yorks did not exist in an artistic vacuum; they live within an entire tradition of experimental art about modern architecture.

NYRA’s new column, which continues our tradition of shamelessly purloining the mastheads and editorial savior faire of long-out-of-print design publications (Architectural Forum, 1917–74.), aims to convene consequential voices in architecture, culture, technology, and politics on the issues of the day.

Why don’t architects have anything to say about Gaza?

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.

For all his “Junkspace” anti-consumerist rhetoric, Rem Koolhaas is phenomenally good at making shopping look fun.

David Geffen Hall promised to rid New York’s preeminent concert venue of its sonic troubles. But this tale of woe goes far deeper.

After years of trying, I finally feel at home in queer spaces.

Architecture is a field that so often puts on a social face while being inwardly and profoundly antisocial. It will not change until you—we—change it.

Architecture needs more Scabby the Rats.

Architecturally, the Vessel is barren; it’s steel and copper and stone. It looks like shearing metal sounds.

Like the bicycle, a building is a tool.