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Critic’s Pick
teamLab challenges our experience of art
Chloe Barreau
•
Nov. 28, 2017
Album(s) of the Year, part 2: Solitude and the self
Nick Burns
•
Nov. 28, 2017
Greta Gerwig’s ‘Lady Bird’ is a miracle of people-watching
Carlos Valladares
•
Nov. 28, 2017
Album(s) of the Year, part 1: The personal
Jacob Kuppermann
•
Nov. 27, 2017
Bridging tech and entertainment at Winston Baker’s Confluence Summit
Olivia Popp
•
Nov. 27, 2017
‘About Face’: Your face, my face and our faces together in art
Julia Gordon
•
Nov. 19, 2017
Fun on the Farm: Twenty-five years of Earth systems
Claire Thompson
•
Nov. 15, 2017
The wonder of Oh Wonder
Jourdann Fraser
•
Nov. 15, 2017
‘The Fallacy of Fairness’: Dissecting biases in academic science with Dr. Jo Handelsman
Claire Thompson
•
Nov. 9, 2017
The Killers get serious on ‘Wonderful Wonderful’
Kendrick Shen
•
Nov. 8, 2017
The power of telling your own story: A conversation with Josué Rivas
Claire Thompson
•
Nov. 7, 2017
Cary Cordova on the underrepresentation of Latinos in art
Natalie Sada
•
Nov. 5, 2017
Collective imagining: A night of spoken word
Chloe Barreau
•
Nov. 5, 2017
St. Vincent’s messy, dazzling ‘MASSEDUCTION’
Jacob Kuppermann
•
Nov. 3, 2017
Brent Faiyaz sings his sorrows on the melancholy ‘Sonder Son’
Omar Rafik El-Sabrout
•
Nov. 3, 2017
Ai Weiwei brings humanity to the refugee crisis in ‘Human Flow’
Mac Taylor
•
Nov. 2, 2017
Body cult: Mishima and Murakami on writing and the body
Didi Chang-Park
•
Nov. 1, 2017
United Nations Association Film Festival: A look at ‘Guangzhou Dream Factory’
Cathy Wang
•
Oct. 30, 2017
Christ or Chaos: Walker Evans in the San Francisco Museum of Modern Art
Mac Taylor
•
Oct. 29, 2017
Nina Katchadourian drops a sick beat and sicker dial tone
Julia Gordon
•
Oct. 26, 2017
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