Meg Stuart, one of the most acclaimed contemporary choreographers of our time, discusses Celestial Sorrow, a new interdisciplinary work made with visual artist Jompet Kuswidananto.

Occupying a space between performance and visual art, Maria Hassabi’s work explores stillness and sustained motion. In Minneapolis to present STAGING in the Walker galleries, she discussed how her sculptural movement installations examine the tension between the human form and the artistic object.

Artist Keith Edmier discusses the kitchen from his work Bremen Towne (2006–2007), part of the exhibition Lifelike.

Inspired by the profile of Minneapolis’s IDS Center, Tom Burr’s Zog examines dualities of inside and out, playing architect Philip Johnson’s hard-edged corporate facades against his softer domestic architecture and personal story—“a mid-century homosexual who lived in a glass house.”

Visiting a casino in the early 1980s, Ericka Beckman was struck by the “use of human value” on display: white gamblers in elevated seats placing bets on a jai-alai game played by Mexicans in a pit below. In a new interview Beckman discusses You The Better (1983/2015), a video informed by that visit that explores chance and capitalism through game play.

“As an abstract painter, I work with things that I cannot see. Google has mapped the whole earth. We have maps of Mars. We do not have a map of the soul, and that intrigues me.” To commemorate Whitten’s passing on January 20, 2018 at age 78, we revisit his reflection on Soul Map (2015), a large-scale acrylic collage that offers a poignant cartography of the invisible.

Claes Oldenburg demonstrates multiple configurations of Geometric Mouse, part of the exhibition Claes Oldenburg: The Sixties at the Walker Art Center.