Once was a sweater empire built from pictures of pain. As catchy as they were outrageous, the “United Colors of Benetton” induced an era-defining confusion: Where does the ad end and the world begin?

Nighttime can be a delusion, a gamble, even a subversive nothing. Four works by Cornelia Parker, Mika Rottenberg, Josephine Pryde, and Blackhaine capture the ecstatic perils of dallying with the dark.

Queued up in four parts, a performative exhibition in Luxembourg copes with post-industrialism’s many identity crises in a chart-topper’s exuberant register.

In Bonn, a densely layered installation populated by both sick and vital spirits proves how lack is a prerequisite for inhabiting our psychic “house.”

From paintings defined by every medium but paint to fake eyelashes and slasher movies, highlights from the most spirited exhibition openings in the luxury city some call “paradise.”

Espying 20th-century icons in all their public guises and moments of uncanny repose, Louise Lawler’s photographs convey that how we look is as formative as what we’re meant to see.

Home ghosts, Kurdish ropes, watery half animals, too-blue eyes, Neapolitan satyrs, hysterical bureaucrats: Indulge in the capital’s most spirited visions.

In the August edition of Spike x Liste Expedition Monthly Picks, a Spike editor contemplates the translation of drones and the slowness of rice fields in Margherita Raso’s “Lentezza.”

How do you generate empathy and the urgency of a struggle? The 12th Berlin Biennale doesn’t have the right answers.