Canadian artist Zoë Schneider’s first American exhibit, The Whale, manipulated and repositioned items like fat suits, fat horror masks and inflatable prosthetic bellies to expose society’s fat bias and the objects’ implicit bigotry. Pittsburgh writer, advocate and sex worker Jessie Sage writes about how Schneider’s work impacted her.

Winter 2024 brought a new business venture to Garfield’s Penn Ave Arts and Small Business District: Fernando Quintanar’s Feliz Arbolito, which translates to “happy little tree.”

The Un-pleasure of Blackness an essay by Marbelite 11/08/24 The moment I come into this world as flesh, wrapped delicately in brown skin, still attached to mother via umbilical cord, my flesh is a political object. I’m born innocent into a world that will very soon strip this innocence away from me. I will grow […]

It is by now passé in painting as it is in sculpture that discussion of its merits rests fundamentally on one common interest: that we take it seriously first and foremost because it feels good. I cannot adequately express how Modell’s debut solo show at Bunker Projects, (F)utility, rubs me. What good do words like […]