Main Gallery

SORT Random (lowest)Random (highest)Date (lowest)Date (highest)Views (lowest)Views (highest)Favorited (lowest)Favorited (highest)Social shares (lowest)Social shares (highest)Post Date (lowest)Post Date (highest)

International collectors became interested in Tunisia's art - and especially its graffiti - during the uprising two year ago, when television pictures showed revolutionary murals plastered throughout the country. After the revolution, artists have more freedom to create, and are developing new ways of selling their work.

Un hombre trajeado viaja en el Metro. Utilizando frases clásicamente asociadas a la mendicidad, las invierte. En vez de anunciar precariedad económica y un estado de necesidad, afirma ser un banquero, sin cargas familiares, que no está perseguido por la justicia. Ofrece monedas a los viajeros, diciendo que si las cogen, ello le hará sentir mejor.

For third world artists who are forced into exile, the creativity process could be greatly challenged due to displacement in language, community and history. Many filmmakers in exile tend to look at their connection to the homeland in strictly political terms, or give up making films overall.

Voina art collective members covertly brought a large laser projector into the attic room of a hotel located across the street from the Russian White house (also called the Russian Parliament Building). From there they projected a large image of a skull and bross bones across the front of the white house building. Other group members on the ground then stormed the building gates and successfully entered the secure zone in front of the building.

Under the moniker BomBaebs, Pankhuri Awasthi and Uppekha Jain rap about rape, cultural stereotypes, religious biases, and hypocrisy surrounding sexism and gender biases in India. They open the video with a disclaimer, warning that “This video doesn’t have any explicit or bannable content. It is just that the reality for women in India is Explicit.”

Women in war is a theater play written by Colombian authors Carlota Llano and Fernando Montes.

"A new photographic work created by Ayyam Gallery artist Tammam Azzam has captured the imaginations of the world, going viral and being shared across social media as a symbol of the power of love and human spirit in times of war. The Syrian artist has superimposed Gustav Klimt’s iconic work, The Kiss (1907 – 1908), over the walls of a war-torn building in his native country in a powerful juxtaposition of beauty and devastation.

The image is stark. And shocking. A black man, his ankles shackled, his head hanging away from the viewer, stands in relief on a field of white. Chains stretching to the image's borders on the left and right pull his arms taut. Fourteen crimson marks crosshatch his back. Within the dark fabric that frames "86 Lashes to Go," a small rectangle is labeled simply "salt."

MoMA presents the first comprehensive American survey of the leading contemporary artist Walid Raad (b. 1967, Lebanon), featuring his work in photography, video, sculpture, and performance from the last 25 years.