Frens, I have never been more excited about the future of art. Here’s why: for 20 years I have made art and shared it online. GeoCities and Yahoo groups. Livejournal and Myspace. Years spent on deviantart, Tumblr, FB, IG. Yet, no online community I’ve witnessed is as supportive as the NFT Community.

In what ways do activist culture and electoral strategy overlap? How can they feed each other and where are the fissures?

Jacob Lawrence: The American Struggle is on view through May 23rd at the Seattle Art Museum. In June the exhibition travels to The Phillips Collection, Washington D.C. where it will be on view from June 26-September 19. Go check it out!

Rid yourself of absolutes. Purity is a tyranny of the abstract. Everything is in flux: in darkness there is always light but equally true is that pleasure is always accompanied by pain. No pure state exists. These are the hard-won lessons on full display in the paintings of Drie Chapek, showing now at Greg Kucera Gallery in Seattle.

Tucked away in the blue collar town of Longview, Washington, the Forsberg Art Gallery is a gorgeous exhibition space on the campus of Lower Columbia College. Sam King’s Thousands of Little Folds represents exactly the kind of energy needed on the campus of a small college.

As long as I’ve been on this planet art has suffered from a so-called “crisis of criticism.” What I have come to recognize is that this crisis is simply a problem of gatekeeping for the Western Artistic Canon.

For those who could no longer taste their food, it was already too late. They had the virus.

Making a Better Painting: Thinking Through Practice examines the “absurdity, passion, and even shame” of being a painter today. It is an ambitious survey of contemporary Northwest Painters, and exemplifies the regional shift in artists’ ambition we’ve witnessed over the last decade: each of the 18 artists make a living largely outside of this region.

This, the fifth iteration of the Seattle Art Fair, featured over 100 International galleries showing work organized around the curatorial theme “Here Explodes the Wunderkammer,” a metaphor for 21st century context collapse.

This is about Violence, the second track from Parquet Courts’ recent album Wide Awake.

Made in L.A. 2018, the latest iteration of the Hammer Museum's biennial, is a powerful antidote to the fatalistic, apocolyptic imaginaries dominating 2018's media landscape.

My first impression of Meryl Pataky's untitled solo show at Stephanie Chefas Projects in Portland was a sense of corrupted beauty. Gorgeous glowing tubes of color caked in a viscous, dripping black fluid.

André's work pries open a space for us to acknowledge the horror of existing in the face of so much suffering, while also constructing meaning from the fragments we find along the way.

Heimir Björgúlfsson makes art populated by birds and wild animals, snippets of the natural world, and bits of detritus evidencing the human hand.

Grace Lynne makes art about her relationship with herself "as a Black woman, and the vulnerability that that entails." She also works in social impact design and "strives to stimulate empathy and critical thinking through art."