Cai Guo-Qiang has literally exploded the accepted parameters of art making in our time. Drawing freely from ancient mythology, military history, Taoist cosmology, extraterrestrial observations, Maoist revolutionary tactics, Buddhist philosophy, gunpowder-related technology, Chinese medicine, and methods of terrorist violence, Cai’s art is a form of social energy, constantly mutable, linking what he refers to as “the seen and unseen worlds.” This retrospective presents the full spectrum of the artist’s protean, multimedia art in all its conceptual complexity.     Read more >>

View this post on Instagram ‘Humankind is represented by mankind … Fake news!’, said Judy Chicago, laughing, when she met Art Basel’s video team at the Institute of Contemporary Art Miami. Most of the artist’s forty-year-long career has been spent debunking that myth. Her best-known work, ‘The Dinner Party’ (1974–1979), celebrates the role of women throughout history. The monumental installation has drawn over one million of visitors since its first display and is now permanently housed at the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum in New York City.‘ The Dinner Party’ has sometimes overshadowed the diversity of Chicago’s practice. Yet she has tackled minimalism, land art, history painting, and embroidery, addressing topics as diverse as male domination, depression, and the Holocaust. For the ‘Birth Project (1980–85), Chicago turned her eye to what she saw as a major blind spot in art history: the representation of