Anne Helen Petersen on The Radical Feminist Aesthetic Of "The Handmaid’s Tale" (the tv series); follow it up with the New Yorker's profile of Margaret Atwood by Rebecca Mead.
This show sounds amazing: Adrian Searle reviews Queer British Art 1861-1967 for the Guardian.
A real long read: Helen Rosner argues The Real Legacy of ‘Lucky Peach’ Is How It Looked on Eater.
Holland Cotter on MOMA's Making Space: Women Artists and Postwar Abstraction for the New York Times:
These shows are invariably moving, surprising and adventurous. The present one certainly is. But they have too easily become a new normal, an acceptable way to show women but keep them segregated from the permanent-collection galleries. In other words, they are a way to keep MoMA’s old and false, but coherent and therefore salable, story of Modernism intact.
Yet another dissection of Thomas Campbell's ejection from The Met - scroll down, it turns out the failing gift store was at the bottom of it.
A truly terrific interview with Kara Walker, by Doreen St. Félix for Vulture.
Philip Kennicott's review of visiting the Kusama exhibition at the Hirschhorn like a normal pleb is less whiny and more thought-provoking than the headline would suggest: I went to Kusama and all I got was this lousy selfie.
The Los Angeles Times is running a series on what L.A. would look like without government arts funding.