The fascinating video art of Israeli artist Yael Bartana, the first non-Pole to represent Poland at the Venice Biennale, brings a credible fiction to the recent pavilion.

Hany Armanious fills the Australian pavilion with facsimiles that appear to be trash—but are actually made with cast polyurethane.

In the Hungarian Pavilion of the Venice Biennale, a powerful installation by Hajnal Nemeth contemplates the intersection between car wrecks and sorrow and art.

The U.S. pavilion is a triumph, thanks to young Puerto Rican duo Allora and Calzadilla’s combination of gymnastics, commerce and war.

Richard Tuttle gives slacker assemblage a good name with System 3, Measurement at his show at Pace Gallery in New York. There’s just about nothing hotter right now than found-object assemblage, so seeing one of its masters still going strong is a pleasure.

Li Songsong makes clear he's a painter with Escape, a new painting with oils several inches thick at Pace Gallery. At this late date in the history of painting, if you’re going to paint you’d better… paint.

Miami Beach, Florida, 1962 is a complex, unusually subtle image by Elliott Erwitt, from his show Personal Best now at the International Center of Photography in New York, that looks like some pictures being taken today.

Architect Robert Mills was fired for a "badly built" staircase—that has lasted more than 150 years. Designed in the 1830s, it’s now in the Smithsonian’s Reynolds Center.