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MARCH HOMEPAGE
Video
Travis Jeppesen interviews the filmmaker and artist in Berlin
View of "Paweł Althamer: das himmel," 2024. Photo: Jens Ziehe.
Critics’ Picks
Thomas Hirschhorn’s Fake It, Fake It – till you Fake It., 2023
CLOSE-UP
Thomas Hirschhorn’s Fake It, Fake It – till you Fake It., 2023
Third Thailand Biennale.
Wading through the third Thailand Biennale
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Current Issue
CLOSE-UP
Thomas Hirschhorn’s Fake It, Fake It – till you Fake It., 2023
PORTFOLIO
Alex Jovanovich introduces a portfolio by Sal Salandra
Paul Pfeiffer, Vitruvian Figure (detail), 2008, cast resin, aluminum, acrylic, 9′ 2 1⁄4″ × 26′ 3″ × 26′ 3″.
Videos
Marjorie Welish in conversation with Alex Jovanovich
Under the Cover
Artist Marjorie Welish talks with Alex Jovanovich about design, semiotics, and modernist philosophy
Molly Warnock
Interpretations
Art historian and critic Molly Warnock considers the lives of animals in Gilles Aillaud’s paintings
Columns
Getty Villa.
At Frieze, Felix, and around town
Rachel Maclean, DUCK, 2024, color, sound, 16 minutes. Marilyn Monroe (Rachel Maclean).
On the redemption and reconfiguration of deepfake
Film
74th Berlinale.
Nonfiction filmmaking at the 74th Berlin International Film Festival
Berlinale sign.
Small looms large at the 74th Berlin International Film Festival
Harmony Korine, Aggro Dr1ft, 2023, color, sound, 80 minutes.
Harmony Korine’s masculinity melodrama
From the archive
MARCH HOMEPAGE
February 1988
“There are these fashions, these trends in a way, of what kinds of ideas people are trying to bring to bear on art and trying to put into practice in their writing, and for better or for worse I’ve often not participated in them,” Roberta Smith confessed in 1988. “I think that I’m interested in trying to open things up without losing sight of the object and of that one-on-one experience.”

This week, Smith announced her retirement from the New York Times after thirty-two years, having served the past thirteen as the publication’s co–chief art critic. To mark the occasion, Artforum revisits her conversation with Ingrid Sischy and Lucas Samaras in the magazine’s February 1988 issue. “When I first started writing criticism I said that I wanted to publish by the time I was 25, and that I wanted to be doing my best work by the time I was 40. . . Having gotten there, I still want to be able to say—this is how you propel yourself forward—that my best work is ahead of me,” Smith said. “We are lucky,” she adds: Unlike athletes, “we’re not forced into retirement at the age of 35 or 65 or whatever.”  —The editors
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