The landmark event displayed competing interpretations of “the modern” in design, art, and architecture.

We take for granted the Titians and Botticellis that hang in galleries across the United States, little aware of the appetites and inclinations of those who acquired them.

More than a century ago, Charlotte Cushman presided over a group of queer female artists who supported one another’s creativity and left a pioneering, if overlooked, legacy.

The first exhibition of paintings that would come to be described as Impressionism opened in Paris on April 15, 1874.

In 1710, Queen Anne of England feted four Native American dignitaries—would-be political allies. Their presence at a performance of Macbeth caused a stir.

More than a century later, the architectural manifesto continues to hold our attention, emphasizing a charged moment when society was breaking with the past.

Climate activist attacks on works by van Gogh, Vermeer, and other art world titans are the latest in a tradition of destruction that hearkens to the early Christian zealots.

In addition to bringing attention to overlooked artists, one scholar argues that art criticism has contributed to their obscurity.

Before the French Revolution, professional models were salaried professionals. That would all change in the nineteenth century.

The number of MoMA-CIA crossovers is highly suspicious, to say the least.