Sebastian Smee

Kerry James Marshall is contemporary art’s great engine tinkerer. He wants to know how things work. In the 1990s, when his contemporaries were making slight, cerebral works using found objects,

Decades after a brazen art theft drove Merry White’s father to despair, federal agents closed in on one last missing work. For White, the search is personal.

Merry White crumpled to the gallery floor. She had been walking around the East Building at the National Gallery of Art in 1984 when shed suddenly

Frederic Edwin Church sold a nation on its own mythology. That was his making—and his unmaking.

The festival is excessive, at times preposterous. But it can still yield moments of profundity.

Trump’s colossal monument would mar Washington’s skyline and disrupt one of its most sacred spaces.

If you dislike contemporary art, all of the things you hate about it can be traced back to him.

An art film about the great midfielder Zinedine Zidane reveals the heroism and pathos of being human.

The usual story is that Milton Avery mentored, then was eclipsed by, the famed abstract expressionist. But it was more complicated than that.

The visionary artist once challenged ways of seeing—until she was seen by everyone.