For Cutaway, curator Olivia Baldwin worked the way she does in her own studio — building from the ground up, beginning with the artists rather than a theme. She had followed Eleanor Anderson, J Stoner Blackwell, Lucy Kim, Kirstin Lamb, and Hai-Wen Lin for years, looking for where their materials might overlap and where they might productively rub against one another. Meeting with them, a shared concern surfaced: how each artist asserts and then loosens the limits of an object, a body, a pattern. Their means are strikingly varied — discarded plastic bags, cross stitch, dyed silk and chain, cast flounder and teeth, a kite pitched toward the upper windows — bound by saturated color and touch. The body recurs throughout, rarely pictured, more often left as a trace in the material. Baldwin discusses the show’s bottom-up beginnings, what its materials share, and the withholding behind its title.
Continue reading “Cutaway at Brandeis University”Art Spiel Picks: Boston Exhibitions in November 2025
HIGHLIGHTS

I’m deeply grateful for Boston’s university galleries—they consistently fill the gaps left by the local commercial gallery scene, which has been diluted, in my opinion, by the pressure to cover rent. These institutions reliably bring high-quality, thoughtful art and ideas to the city. A short but not exhaustive list would include the Rose Art Museum at Brandeis, the Aidekman Arts Center at Tufts, MIT’s List Visual Arts Center, and the Harvard Art Museums.
Continue reading “Art Spiel Picks: Boston Exhibitions in November 2025”A Gathering: Gardens, Portals, Protests

Why do we need art in this moment? What art sustains both practitioners and audience in difficult times? These urgent questions pulse at the heart of curator and artist Olivia Baldwin’s extraordinary exhibition at the Kniznick Gallery, part of Brandeis University’s Women’s Studies Center—and the answers she’s assembled are luminous.
Continue reading “A Gathering: Gardens, Portals, Protests”