Hito Steyerl and Zach Blas are among those fighting against the commodification of art and using multimedia works to ask important questions about the role of technology and surveillance in society.

Documenta 14's legacy could be budget woes and claims of curatorial vagueness, but Frans Josef Petersson argues that, indeed, it was "radical, in the fundamental sense of the word."

"...weeks later I am still thinking about it." Claudia La Rocco writes on Sarah Michelson’s multi-faceted new work, September 2017/\—the final act of Michelson’s four-year Bard residency.

Randy Kennedy profiles the "profoundly strange" Claes Oldenburg, 88, an artist who expanded "the definition of sculpture by making it somehow more accessibly human and more cerebral at the same time."

What would 20th-century indigenous art have looked like if it'd been in close dialogue with contemporary art? An LA show by Jeffrey Gibson—a gay Choctaw/Cherokee artist—offers an answer.

"Some traumas are irreducible to representation." Curator and writer Candice Hopkins on cultural appropriation, Dana Schutz's Open Casket, and Sam Durant's Scaffold.

"Seitu Jones shows us how artists can have an expanded social and political role." Focused on art and diversity, a community meal for 250 won the St. Paul artist ArtPrize's $200,000 grand prize.

The MacArthur Foundation's annual "genius" grantees—hailed for “originality, insight and potential”—include artists Dawoud Bey and Trevor Paglen, writer Jessamyn Ward, and 20 others.

"As we look to the future, don’t be distracted by the wooden Indian." NMAI curator Kathleen Ash-Milby critiques Art in America's 1972 Native American issue, while introducing its 2017 version.

Separated by 55 years and divergent visions, street artist JR and French New Wave icon Agnès Varda have collaborated on a film, Faces Places, Varda's first collaboration of her 60-year career.

"My instinct is that trying to make true and beautiful things is the antidote to disgusting politics." Turner Prize–nominated artist Gary Hume on current events, his mom, and the YBAs.

"The real mission of my art is to reset history, to be truthful about what happened to Native people." Hock E Aye Vi Edgar Heap of Birds on Scaffold, Building Minnesota, and more.

Details are emerging about a David Hammons installation planned for the banks of the Hudson: he aims to create a 3D outline of the Pier 52 shed where Gordon Matta-Clark made Day’s End (1975).

What is the relationship between cultural production and social movements? Brooklyn's Interference Archive explores the question through 30K posters, pins, and pamphlets used in political organizing.

"How does language mediate our being? Where does language end, and what, if anything, might exist beyond it?" Matthew Jeffrey Abrams profiles filmmaker and Ho-Chunk Nation member Sky Hopinka.

25 makers of art that helps "advance freedom, justice, and inclusion, and strengthen our democracy" have been named Ford Foundation Art of Change fellows, including Postcommodity and Jason Moran.

A series of commissioned opinion pieces featuring provocative reactions to the headlines by Ron Athey, Gordon Hall, Natascha Sadr Haghighian, Postcommodity, Ana Tijoux, Jack Whitten, and others.

Ben Davis, Sabaah Folayan, RaMell Ross, and Eric Schlosser consider "truth" in light of Werner Herzog's Trump-era update to the 1999 Minnesota Declaration on truth and fact in documentary cinema.

A program of commissioned moving image works by artists—including James Marwa Arsanios, Yto Barrada, Renée Green, and Pauline Boudry/Renate Lorenz—who respond to work in the Ruben/Bentson Collection.

An editorial supplement to the conference Superscript: Arts Journalism and Criticism in a Digital Age, featuring commissioned essays by Kimberly Drew, Alexandra Lange, An Xiao Mina, and others.

An ongoing series of essays, translations, interviews, and excerpts examining the past, present, and future of art education, presented by the Walker Education and Public Programs staff.

Offering perspectives from those closest to the art, this recurring video series gives voice-of-the-artist perspectives on work on view.

A memoir series by the late Walker director Martin Friedman, recounting his encounters with artists including Joseph Cornell, Marcel Duchamp, and John Cage.

In serial form, a 10-part curatorial essay from the 2014 exhibition 9 Artists, which featured Yael Bartana, Liam Gillick, Hito Steyerl, Danh Vo, and others.

Avant Museology is a two-day symposium exploring the practices and sociopolitical implications of contemporary museology.

Experimental Jetset, Lucky Dragons, Tomás Saraceno, and others share how 1960s artists featured in the exhibition Hippie Modernism have influenced their work and thinking today.

To commemorate the year that was, we invited an array of artists, writers, designers, and filmmakers to share a list of the most noteworthy ideas, events, and objects they encountered in 2016.

In interviews with Laurie Anderson, Paul Chan, Trevor Paglen, JoAnn Verburg, and others, this series examines artists' approaches to small-p politics—issues of power, inequality, and participation.