In a couple of weeks, The Annex Gallery will receive an exhibition by Juan-Sí González. There are several generations of Cuban artists —the younger ones especially— with only a very blurred idea of who Juan-Sí is and what his role has been in Cuban visual arts during the second half of the twentieth century. Some do not know him at all. This does not surprise me...


Wave Pool opens a group photography exhibition about human and nonhuman histories, environmental change and the passage of time.

Evendale pairs a history exhibition with juried outdoor photography, a curator talk, awards and a gallery walk.

Cincinnati Museum Center offers a camera obscura, hand-colored portraits and historic photograph cases inspired by J. P. Ball.

The artist and curator discuss their Cuba-to-Ohio journeys and the making of I.T.I.N.E.R.A.T.I.O.N.S at The Annex Gallery.

Photographs by Gordon Baer and Jano Rečo examine aging and institutional care across Cincinnati and former Czechoslovakia.

Kent Krugh layers multiple exposures of trees into photographs that compress seasonal change and duration into single images.

Pyramid Hill brings local artists, food trucks and family art activities to its two-day outdoor fair in Hamilton.

Seven artists use photography, altered perspectives and mixed materials to imagine unfamiliar relationships with the natural world.



Photographer Jens G. Rosenkrantz Jr. opens Crossing the Border next Friday, September 4, in the main gallery of the Museum of Contemporary Art of the Americas in Miami. This is only the second time this body of photographs, taken along an extensive stretch of the southern border of the United States, has been shown publicly. Its first presentation took place in Cuba, at Fábrica de Arte Cubano, in 2019...

For this series, Rubio & del Amo, a Murcia-based studio specializing in visual identity, editorial design and packaging, joins forces with Cruz más Cruz, the Madrid firm founded by José María Cruz Novillo and later consolidated with the arrival of his son Pepe. Two fairly complementary sensibilities feeding into a common project.



A quick first take on Sara Pearce’s Expecting to Fly at 5th Street Gallery downtown shows her a words person as well as a visual artist. And no wonder; words were her trade during her Cincinnati Enquirer years, when she reported on restaurants, books, sometimes visual arts, and was a features editor. What collages require, however, is a good eye; Pearce has it. If word play is essential in the way she shapes her work, it...

Every now and again, the literary and/or publishing worlds discover or rediscover an author, living or dead, whose writings are so exceptional that they change the way we read, understand the world, and reexamine the act of writing itself. Three or four years ago, I read Roberto Bolaño’s Savage Detectives, in which this recently dead Peruvian author combines the world of young poets, mainly in Mexico, his adopted homeland...

When old friends meet after a hiatus, there is little preamble before lapsing into friendly chat. This was the case a few weeks ago between AEQAI editor Daniel Brown, and Miller Gallery’s Laura Miller Gleason and husband, Gary Gleason. The two now run the 50-year-old gallery in Hyde Park Square. Laura’s parents are both deceased. Norman Miller died in 2000, and his wife and founder of the gallery, Barbara Miller, died in...



In the mid-1990s, I had many printed copies of the Financial Times in my hands. Probably sometime between 1995 and 1997. I was fascinated by its design, the wan salmon of its pages and Ingram Pinn’s illustrations: its visual identity, basically. As for reading it, very little, I confess. It was an almost purely retinal experience, and little else. But it became clear to me that its texts were written for professionals —people who make decisions on the basis of verified information—

The smell of fresh ink on a print just lifted from the press has a remarkable ability to turn devotees into addicts. So do the uneasy intervals built into the process, which forge a very particular bond with the craft. This lies at the origin of nearly every printmaking and screen-printing workshop. Another trait they tend to share is an unusual capacity for endurance...

Since Wednesday, August 12, Annex Gallery has been presenting Tiger Lily: Collective Impressions. Tiger Lily Press is a cooperative printmaking workshop founded in Cincinnati in 1979, conceived as an open space for practice, teaching, and the preservation of artistic printing techniques. Over several decades, it has brought together printmakers from different generations, providing access to presses, tools, workshops, and shared technical knowledge, while establishing itself as one of the...



Abu Dhabi's Institute of Foundation Models has released K2 Horizon, a family of six artificial-intelligence models ranging from 0.9 billion to 375 billion parameters. The smallest is designed for constrained devices such as watches and phones, while larger versions target local servers and enterprise systems. IFM says it has published the models' weights, training code, data, methods, intermediate checkpoints, logs, and evaluations so researchers can inspect, reproduce, and adapt the work. Performance claims still come from the developer, yet the release exposes far more of the manufacturing process than the downloadable weights commonly marketed as openness.
A researcher receiving only model weights gets the finished object without a useful record of how its behavior was formed. Access to data mixtures, filtering methods, code, and checkpoints makes different questions possible. Investigators can trace a bias toward a source category, examine whether an evaluation rewarded an unintended shortcut, or compare the point at which a capability appeared during training. Reproducing the largest model still demands money, hardware, and electricity beyond most universities or independent laboratories. Transparency therefore does not erase the inequality of scale. It gives outsiders evidence with which to challenge a laboratory's account of its own system. K2 Horizon places six machines on the table with their casings removed; the practical test begins when researchers inspect the files, rerun a checkpoint, and publish what the original announcement missed.

An Environmental Protection Agency proposal would remove the federal requirement that states notify the public and invite comments before granting air-pollution permits to facilities classified as minor sources. The Associated Press reported that the change could affect data centers and supporting equipment as companies build infrastructure for artificial intelligence. States could keep their own participation rules, although the federal minimum would disappear. The EPA says the proposal leaves emissions standards intact, reduces administrative burdens, and gives state and local agencies control. A coalition of nearly 200 environmental, health, and community groups warns that residents in states with weak rules could learn about projects only after approval.
The dispute makes public participation part of AI infrastructure. A data center is assembled through permits, utility agreements, cooling systems, backup generators, and land decisions long before a model answers its first prompt. Notice and comment give neighbors a narrow moment to examine that bargain while changes are possible. Removing the common floor would make a household's influence depend on local rules and its ability to discover an application buried in an administrative process. The result could be a geography of unequal visibility. Some communities debate the machines arriving beside them; others meet the building after the decision. Artificial intelligence may be sold as a national race, yet its air, noise, water use, and power demand settle at specific addresses. A permit issued without witnesses turns technological ambition into a local fact before the public can speak.

OpenAI has begun rolling out GPT-6 Astra, a model it says reaches 99.9 percent on ARC-AGI-3, a benchmark for artificial general intelligence (AGI), and human-level action efficiency on 96 percent of that benchmark's levels. Astra is the first OpenAI model classified at the Critical cybersecurity threshold, meaning that with tools and access it can discover unknown flaws and develop exploits across hardened systems without step-by-step human direction. OpenAI delayed parts of the release to strengthen containment and is initially limiting access. It does not call Astra AGI.
OpenAI's charter defines AGI as a highly autonomous system that outperforms humans at most economically valuable work. One saturated benchmark cannot prove that claim, and Astra still falls below the company's High threshold for AI self-improvement. Yet a turning point can arrive before its official name. Astra combines reasoning with direct computer use across long professional workflows. That changes the unit of automation from an answer to a finished assignment. Scientists may compress weeks of technical work. Offices may remove layers of junior labor. Cyber defenders and attackers may search for the same unseen vulnerability at machine speed. The human consequence depends on who can delegate, who owns the infrastructure, who is displaced and who retains authority to stop the task. If Astra is remembered as an AGI milestone, the evidence will come from workplaces, laboratories, public agencies and security incidents rather than the launch page.
