“DMYCC,” the first UK exhibition of New York-based artist Sean Vegezzi, was organized by roaming projects and took place in a former railway archway in London.
DEEP TRASH in the Underworld was held as a live art and club night-cum-exhibition organised by CUNTemporary, a non-profit organisation that provides a stage for queer and feminist research and art practices.
Elizabeth Metzger Sampson considers Lindsey Dorr-Niro and Lisa Vinebaum’s mirroring exhibitions at Sector 2337 in Chicago.
Film artists Filipa César and Louis Henderson trace the trajectory of optical technology throughout history in “Op-film: an archaeology of optics” at Gasworks.
Abe Ahn reviews “I can call this progress to halt” at LACE, considering gestures of protest or unrest featured in the exhibition, which offer ways to surface new social relations and the potential for a commune untethered to time and place.