As a built portrait of the city, the Amsterdam Rasphuis portal affords wealthy Dutch citizens the opportunity to fashion identities for themselves and their subordinates.

Noise in Formula 1 is reaching a breaking point where pleasing both fans and host communities may not be possible anymore.

Afghanistan has been exporting war rugs since 1979—many now hang in museums. So why don’t we know their makers?

According to Sally Whitman Coleman, Gerard David’s landscapes are non-functional alongside other Flemish Primitives—but Emily Vescio disagrees.

The Fuller Brooch dually embodies constructs of Englishness and the “Anglo-Saxon.”

Intricacies of type design influence our impressions as we read and thus our understanding of the world.

Anthony Portulese argues that the Group of Seven’s artwork promotes the illusion of a country born on uninhabited lands.

According to Sámi artist and architect Joar Nango, “colonization and architecture are not separate phenomena.”

L’histoire du Salon public du Louvre, racontée à travers le sujet caché de la race.

Bles imagines a novel frontier through the overlooked set-pieces of Northern Renaissance paintings—one where nature is a primary narrative-emotive device conveying the Lord’s wrath.

When curating Artemisia Gentileschi, what story does one tell—that of a violent life or a pioneering businesswoman?

“All wars are fought twice, the first time on the battlefield, the second time in memory.”