Roy Lichtenstein made an art of copying. Now, the Whitney is appropriating the appropriator. In Like New, reproduction, reconstruction, and Pop spectacle become curatorial strategies, creating a tribute that looks suspiciously like the museum’s own self-portrait.

Elise Ansel talks with the Brown Art Review about her experiences at Brown and engagement with art history within her work abstracting Old Master Paintings

Through their personal experience, Alex guides us through a vision for a personalized way of appreciating art, demonstrating that the value of art is not in the work, but in our hearts, joyfully entangled by context and life.

As Frieze London returns, transforming Regents Park into a marketplace for contemporary art, one questions whether the experience of appreciating art has become increasingly indistinguishable from luxury consumption. When it comes to art fairs, how much do we value art for what it actually communicates and how much for what it is worth to us as a commodity?

Cara explores how Natalia Goncharova redirects the ambitious, often technologically oriented rhetoric of Russian avant-garde abstraction toward an intimate and playful subject: domestic cats.

Kate explores how Australian artist Vincent Namatjira redefines portraiture to confront the legacies of colonialism while envisioning a more inclusive future—one expansive enough to embrace all Australians.