Courtroom sketch of Elizabeth Holmes being cross-examined by prosecutor Robert Leach, November 30, 2021. REUTERS/Vicki Behringer

Courtroom sketch of Elizabeth Holmes being cross-examined by prosecutor Robert Leach, November 30, 2021. REUTERS/Vicki Behringer

This month, Adina Glickstein considers three girls’ grifts – and the startup-ification of subjectivity that might be the real crime after all.  

 Courtesy: the author, who writes: “I took this selfie in 2016 during an internet sex session, and also used it later with several other partners.”

Courtesy: the author, who writes: “I took this selfie in 2016 during an internet sex session, and also used it later with several other partners.”

Low-res, badly angled, pixilated, over-exposed: Joanna Walsh advocates images that reveal effort and failure.

 Self-portrait of author wearing Ambien-induced Depop purchase, 2022

Self-portrait of author wearing Ambien-induced Depop purchase, 2022

For her November column, Cara Schacter went to Joan Didion’s estate sale and felt nothing.

 Sergei Parajanov, The Color of Pomegranates, 1969

Sergei Parajanov, The Color of Pomegranates, 1969

Flamboyance, mysticism, grungy bohemia, offbeat artistic projects: Tbilisi’s art and nightlife scene, with a listing of spots to watch.

 Carolee Schneemann, Meat Joy,16–18 November 1964, Judson Dance Theater, Judson Memorial Church, New York; Photo © 2022 Estate of Robert R. McElroy / Licensed by VAGA at Artists Rights Society (ARS)  

Carolee Schneemann, Meat Joy, November 16–18, 1964, Judson Dance Theater, Judson Memorial Church, New York. Photo © 2022 Estate of Robert R. McElroy / Licensed by VAGA at Artists Rights Society (ARS)

Carolee Schneemann wrested pleasure from taboos, showing how more the body is than a sex-negative society can admit. Read our review of her latest retrospective at Barbican in London.

Spike x Liste Expedition Monthly Picks in November: Brit Barton on the allure of Inga Danysz’s stoic Sarcophagus 03.

 Vunkwan Tam,  78i78 , 2022, blanket, water, synthetic doe urine, 145 x 140 x 18 cm. Courtesy: the artist and Empty Gallery, Hong Kong. Photo: Michael Yu

Vunkwan Tam, 78i78, 2022, blanket, water, synthetic doe urine, 145 x 140 x 18 cm. Courtesy: the artist and Empty Gallery, Hong Kong. Photo: Michael Yu

In his debut show at Empty Gallery in Hong Kong, Vunkwan Tam turns doe urine into a metaphor for dramatized emotional wallowing.

 View of “Ian Cheng: Life After BOB,” LAS (Light Art Space), Berlin. © 2022 Ian Cheng. Presented by LAS (Light Art Space). Photo: Andrea Rossetti

View of “Ian Cheng: Life After BOB,” LAS (Light Art Space), Berlin. © 2022 Ian Cheng. Presented by LAS (Light Art Space). Photo: Andrea Rossetti

Ian Cheng speaks about his latest film shown at LAS in Berlin and about what is left for human selves to do.

For his November column, Dean Kissick makes clear what Dimes Square, really, is.

 Paris Internationale 2022 

Paris Internationale 2022 

The 2022 Paris art fairs are all about glocal simulations and works full of text. Read Ingrid Luquet-Gad’s round-up.

 Steven Warwick, Scarecrow , 2021. Photo: Angele Balducci

Steven Warwick, Scarecrow, 2021. Photo: Angele Balducci

Being bad feels good. This month, Adina Glickstein chats with the artist Steven Warwick about scapegoats, salvation, and Stanley Kubrick.