Krista Voto and collaborator, Brittany Coburn, Her Shadow Casts No Simple Form
In Dialogue by Etty Yaniv

Meghan Roghanchi at RAM Gallery

In her mid-twenties, Meghan Roghanchi began collecting art with her husband, engaging directly with artists and developing an interest in the relationship between artistic production and collecting. After raising three children to school age, she returned to a professional focus shaped by her long-standing engagement with art, education, and collecting. Drawing on these experiences, Roghanchi founded RAM Gallery, positioning it at the intersection of creative practice and collecting, with an emphasis on direct exchange between artists and audiences and an accessible, welcoming gallery environment.

Exhibition Review by Taylor Bielecki

Bonesetter: Dislocations, Connections and Synergies

Walking into the space at 86 Bowery, you are greeted by a calm, welcoming exhibition, the walls warmly lit and filled with a wide array of drawings, paintings, and sculptures, featuring works by 24 artists. The exhibition title is Bonesetter, based on the idea of a bonesetter, an individual in many cultures who resets broken bones and dislocations.

Exhibition Review by Jac Lahav

Rachel Rampleman’s “Life Is Drag”: An Epic Queer Archive at SoMad

Rachel Rampleman has been documenting drag performers for 6 years. With over a thousand hours of footage of interviews and performances, she has compiled the largest archive of American drag in the world. At SoMad, a queer and femme-led contemporary art space in Manhattan, Rampleman unveils their latest iteration of Life Is Drag. In a dark room, glowing monitors with monumental portraits of drag artists shimmer, shout, and whisper. Ultra high definition acts of defiance and glamour brighten the walls in this installation, running through December 18, 2025.

Tom LaDuke’s Dream Sets for a Lost Message
Exhibition Review by Stephen Wozniak

Tom LaDuke’s Dream Sets for a Lost Message

Across trippy, iridescent seas, massive, eerie interiors, and uncanny, translucent forms, Tom LaDuke composes intimate “letters” to the cultural ghosts that shaped him—poetic reflections on perception, memory, and the subtle currents of emotional drift.

Love letters straight from your heart
Keep us so near while apart
I'm not alone in the night
When I can have all the love you write

–  Love Letters by Heyman and Young
Exhibition Review by Taylor Bielecki

Spectral Evidence: A deeper introspection on Color, Light, and Energy

Walking into this show on a cold, blustery night, you are greeted by large windows illuminated out by gallery light. Inside, you are met with a collection of color, light, and energy. Each piece in the exhibition Spectral Evidence uses mainly acrylic to illuminate new spaces by dissolving edges, blending colors, and allowing gradients to calmly and smoothly envelope the space within the works. While each artist in the show has their own take on creating their own spaces, they use many conventions of painting and abstraction to create new forms and environments to experience, and each piece seems to flow well into the next. The gallery layout lends itself to a meandering space.

In Dialogue by Etty Yaniv

Curatorial visions at Montclair Art Museum

During her more than thirty years at the Montclair Art Museum, Dr. Gail Stavitsky, Chief Curator, has shaped the institution’s vision through exhibitions that deepen public understanding of art history while highlighting under-recognized artists. Her work extends beyond the galleries to publications that introduce new scholarly perspectives — including the recent catalogue accompanying Tom Nussbaum: But Wait, There’s More! In this interview, Dr. Stavitsky discusses her curatorial approach and the ideas guiding the Museum’s current exhibitions by Tom Nussbaum and Christine Romanell.

Exhibition Review by Peter Schroth

Tom McGlynn: This Here at Rick Wester Fine Art

Tom McGlynn continues to grow a decade-long train of thought with a new selection of paintings in This Here at Rick Wester Fine Art. Consistent with his oeuvre, he arrays a selection of color rectangles suspended within various fields of color. An acquaintanceship with the origin of this direction, accompanied by a fresh pair of eyes, will enable a viewer to put aside the parallels with Mondrian, Albers, or even Hans Hoffmann, and see these works anew.