Brian T. Allen

The ‘Bus Stop’ Titian, Dolley Madison, and a tribute to Bill Viola.

A gorgeous building, but ‘transparency’ and ‘belonging’ are pricey abstractions.

A philosophy for all seasons comes with art, nostalgia, and, yes, plenty of snark.

Guillaume Lethière, a specialist in death by virtue, fit right in.

A Vivian Maier show, New York’s first, and looking at People at 50.

Plus why do woke scolds at Boston’s MFA hate Native Americans at prayer?

Conservatives ignore culture scholarship at their peril. Most NEH grants are worthy, but ‘climate resilience’ is for engineers, not humanists.

A worthy exhibition at the Peabody Essex Museum tries to cover too much, alas.

On the art of angst, a gender-bending torero, learning as the antidote to hate, and other topics.

In New York, TEFAF is tepid, but the American Art Fair delights.

The Autry Museum goes too far down the atrocity-propaganda road.

In other news, an art fair turns voting-law expert and an art vandal heads to the clink.

A well-told take on a figure hated and adored, plus George Bush’s angst art.

Acquisitions in 2023 include a grand royal portrait and a teacup fit for a French dauphin.

Eclectic architecture, often overlooked, depicted in new portfolio of photographs.

The painter’s final statement — his darkest paintings — under new light.

On offer: Wiggling angels, an anguished Abraham, and densely adorned altarpieces.

Substance is losing out to sparkling, pricey new buildings and lots of ego trips.

The art-and-museum circuit is struggling, changing, but dare we say evolving in some corners, in response to this terrible year’s circumstances.

Great American work from living and dead artists, luscious gardens, and a commitment to serve the public, even amid COVID.

Hundreds of millions for woke public art aimed to stoke victimologies.

The Judson Church windows fill the space with truth that’s ethereal and radiant, but truth it is.

Give relief to theaters, operas, and other live-performance venues first. Most museums, especially the big ones, don’t need the money, and they’ve failed the public.

The show is postponed, and guess who’s smothering free thought?

Making the Met, 1870–2020 makes the case, and no one can deny it: The Met is an unparalleled marvel.

COVID-19 has pulled back the veil on the insularity, elitism, and laziness of far too many museums, which are forgetting that their main purpose is to serve the public.

Meanwhile, American museums turn political and keep the public out.

A courtier, a wanderer, a high-stepping superstar portraitist with the gift of empathy

The Nasher Sculpture Center, with a solo show on Barry X Ball, leads the way in reopening and focusing on art rather than virtue-signaling.

Photo-realism’s most esteemed practitioner is a master of ‘what’s just in your world.