Nearly eighty articles originally published between 2010 and 2011 have now been recovered and are available through The Annex Updated.
These first texts mark the beginning of a larger undertaking: the recovery of the archive of aeqai.com, a publication that, between 2010 and 2019, brought together valuable writing on art, artists, exhibitions, and the cultural history of Cincinnati.


Discarded objects become a tactile archive of kinship, girlhood, womanhood, and the memories we carry in Cincinnati, OH.

Thursday Art Play gives young children a hands-on CAC session tied to Homespun, with yoga and art making on July 9 2026.

Yayoi Kusama’s mirrored pumpkin room turns reflection, repetition and glowing color into an endless Cincinnati encounter

Ayana Ross presents seven figural paintings at the Taft Museum as the 2026 Duncanson Artist-in-Residence.

Rites of Passage spotlights nine emerging artists at Manifest, opening July 10 with student work from eight U.S. states.



Although I am an avowed admirer of her solo work and have known her for nearly twenty-five years, I do not remember ever having spoken in person with Liudmila Velasco. About her work, about the weather, about how unbearable this or that artist can become. When I left the island, Liudmila was already practically an institution within Cuban women’s photography...

When we first came across Tim Harrier’s Shaman Spirit Guides, we dismissed them without mercy as the product of artificial intelligence. The mud-covered faces, the animals emerging from the background, and an unbroken frontal force produced, almost at once, a malignant suspicion. Suspicion ran far ahead of the work. And we are right to suspect almost everything in life. This series, no...



If you go to the Cincinnati Art Museum this summer you will see artwork from the contemporary art collection of Hollywood producer Douglas S. Cramer in two separate exhibition areas: one just upon passing the entrance foyer, where the Museum often houses small-scale teasers for future or current exhibitions; and the other in the First Floor changing exhibition hall, just across from the Terrace Café. Although the two are very...

Æqai is asking a variety of area artists to select one work of art from the permanent collection of either the Cincinnati Art Museum or the Taft Museum of Art, and tell our readers why it is important to him or her. Cole Carothers, a well known, and well respected Cincinnati painter, begins our series with his analysis of the Cincinnati Art Museum’s Gerhard Richter’s Abstract Painting. We...

(The following interview took place Sunday, June 14, 2011 in U-turn’s gallery in Brighton. Attending were the five organizers of U-turn, in alphabetical order: Molly Donnermeyer, Matt Morris, Patricia Murphy, Zach Rawe and Eric Ruschman. All are graduates of the Art Academy of Cincinnati. For the sake of brevity, this article offers excerpts from the conversation. )



There is a book. Before the exhibition, before the charcoal drawings spread across the galleries of the Contemporary Arts Center, before the viewer crosses the blue thresholds into the dreamworld of Freeman Little...

A few months ago I wondered in these pages what Macron was getting out of lending the Bayeux Tapestry to the English. Forty thousand French citizens signed a petition to block it, citing textile fragility and, I suspect, a touch of cross-Channel rancour as well. The other question remained: what would the British Museum get out of it.

Now and again, chance weaves a concurrence of circumstances that places us before a window opening onto the past. The opportunity to converse, undistracted, with the Austrian artist Stylianos Schicho was a privilege, since what most interests me in art are the sinews that bind it to whoever produces it.



Flexion Robotics showed WIRED a humanoid robot doing the kind of office errand that usually disappears into the bottom of a job description. A modified Unitree machine receives a plain instruction, collects a delivered parcel, uses stairs and an elevator, opens the package, and puts snacks into a drawer. The Swiss startup, founded by former Nvidia robotics researchers, says its system trains separate skills in simulation and lets a higher-level model decide how to combine them. No person moves the robot's limbs from behind a console. It reads a goal, selects learned actions, and carries the task through an ordinary building.
The office is a cruel test because it looks simple to people who already know its rituals. Doors have weight, elevators have timing, drawers stick, parcels slide, shelves sit at awkward heights, and every hallway carries small rules nobody writes down. Flexion is training the robot for that minor grammar of work. Companies often describe automation through heroic language. Offices run on errands, setup, fetching, sorting, waiting, opening, carrying, and correcting. The intern learns strategy in a meeting room and becomes the body sent to find the box, press the button, hold the door, and make the workplace continue without anyone naming that labor.

Prosecutors in the Palisades fire trial brought ChatGPT logs into court alongside iPhone location data, security camera footage, and witness testimony. Jonathan Rinderknecht was accused of starting a January 2025 blaze that later became one of the deadliest wildfires in Los Angeles history. According to The Verge, the prosecution cited chatbot exchanges in which he generated images of fire, asked why he felt angry, complained about the wealthy, and recorded a question about whether someone could be blamed if a cigarette started a fire. The jury did not accept the theory. After a 10-2 vote favoring the defense, the judge declared a mistrial.
The juror who spoke afterward gave the case its sharper edge. She said she talks to ChatGPT all the time and became angry at the suggestion that using a chatbot showed a character flaw. That reaction marks a limit prosecutors will keep meeting as private AI use becomes ordinary. A search history can look incriminating because it points to an action already known to have happened. A chatbot record is messier. It can contain fantasy, rehearsal, confession, curiosity, venting, boredom, or a sentence typed because the interface was available at a bad hour. The courtroom now has to decide when a prompt is evidence and when it is only a person speaking into software that answers back.

At the Babell Literary and Cultural Festival in Porto, Margaret Atwood described a small failure with a familiar shape. She had asked Claude for information about the British detective series Father Brown, according to Deadline and The Verge, and the chatbot gave her the wrong answer. Atwood traced the mistake to the material the system had likely absorbed. Reviews often discuss detective stories while protecting the ending, so Claude had learned from summaries shaped by courtesy and suspense. It returned certainty from sources built around withholding. Atwood first called the answer a lie, then narrowed the accusation. A language model has no intention. It predicts from traces left by other texts.
The error came from culture as much as from software. Spoiler etiquette, promotional writing, cautious criticism, and recycled summaries all leave gaps. A model trained on that archive can fill the gap with clean prose and no visible warning. The same habit follows it into offices, schools, journalism, and business research, where a fluent answer can hide the missing page. Atwood's test was minor, almost comic, but it points to the labor AI keeps handing back to the user. Check the episode, open the book, find the record, ask the person who actually knows what happened.