In her book, "Get the Picture," Bianca Bosker exposes the elitist barriers of the art world and why they were created.

Ten years after an indifferent review, Lucius’s Wildewoman is re-released, proving its timeless appeal and the band’s unrivaled talent for genre-defying music and vocal magic.

Long before Midjourney and OpenAI's Dall-E, Harold Cohen’s AARON, revived and running at the Whitney Museum of American Art, showed a more collaborative form of AI art.

Erika Howsare ventures through centuries, across cultures and geographies and peoples. Her hospitable manner and magnetic subject draws us along through research hidden beneath easy prose.

An intimate, athletic performance in Zurich displays the pianist’s brilliant, unorthodox style found on his latest album.

Shane Campbell-Staton's well-intentioned storyline is riddled with inexcusable inaccuracies and gross (though convenient) oversimplifications.

In his book, "Blood and the Machine," Merchant jogs our memory of past technological upheavals in an attempt to arm us for the tyrannical change he foresees.

We were young once, and optimists.

Prophets and poets over-index toward suffering. Truth-telling has its costs. As Smith’s poem traversed space and time, giving life and language to aching and adoring multitudes, her marriage was dying.

When systems or organizations do not work the way you think they should, it is not because the people inside them are stupid or evil. It is because they are operating according to structures and incentives that aren’t obvious from the outside.