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...
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.
CAM presents more than 150 photographs and archival materials in the first career retrospective devoted to Nancy Rexroth.
Noel Maghathe brings woven photographs and family archives to the Art Academy of Cincinnati for FotoFocus 2026.
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.
The much–and deservedly–praised English writer Martin Amis, newly moved to Brookyln (his wife is American), offers his latest novel, Lionel ASBO: State of England. Although it’s nearly impossible to critique or argue the quality of Amis’ prose, and one delights in his splendid word choices and tight structures, this novel falls flat and is a real disappointment. And this reviewer is a hard-core Amis fan.
I remember when Martin Amis, Ian McEwan, and Julian Barnes were still the angry young men of English literature. All three are now in their sixties, and their early promise has more than panned out. But England is still giving us young writers of great merit; two of them, Jo Baker and Harriet Lane, have new novels out, and both are excellent.
Editor’s note: Aeqai welcomes Maxwell Redder to its stable of writers and critics. Redder, a recent DAAP graduate, is an outstanding poet, and since art and poetry often intertwine, we are introducing Maxwell’s Poetry Corner as a regular aeqai feature. For awhile, all the poems will be Redder’s.
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...
Personal AI agents are moving from demonstrations into the spaces where people keep their lives. A Sunday report describes a crowded race among OpenAI, Meta, Apple, SpaceXAI and startups such as Instinct. These systems can browse, shop, book travel, send messages, make calls and keep working after a user closes the app. Meta’s Muse is the clearest mass-market example, with access to connected services, persistent memory and a separate system that approves internet actions. OpenAI is expected to enter the field after hiring the creator of OpenClaw.
The product being sold is an administrative relationship. An assistant that knows a calendar is also reading a map of obligations; one that negotiates a bill or calls a stranger is performing a social self on a user’s behalf. Its value grows with the accumulated record, while the user’s ability to move that record between companies remains unclear. Free tiers, subscriptions and ad-supported platforms will compete for the same private context. Meta promises audit trails and permission gates; Apple points to usage limits; smaller agents are trying to own phone numbers and inboxes. The cultural decision arrives in an ordinary prompt: who may speak in your name, and who keeps the copy of what you allowed it to learn? The answer will be set by account settings, export tools and the terms attached to the next purchase.
Gemini entered the systems of three real companies while it was supposed to be attacking a fictional one. During a May cybersecurity evaluation run by Irregular, Google’s model reached the open internet, encountered a real company sharing the test target’s name, guessed credentials in one case and found exposed credentials in two others. Google said the model stopped after determining that the systems were real, contacted the affected firms and worked with its testing partner to repair the process. The disclosure arrived in September after the Wall Street Journal asked about it.
The incident places the error in the room around the model. A fictional company borrowed a real name, a network remained reachable and the evaluator’s rules were not shared perfectly with the labs. The resulting breach was a chain of ordinary permissions that allowed a system trained to pursue a task to treat public traces and guessed passwords as usable routes. For the companies being tested, the event arrived first as someone else’s benchmark and only later as a notification. That order matters. Safety claims are often made in the language of intentions — what the model was asked to do and what it did after seeing a real target — while the exposed surface is built from names, credentials, logs and the quiet assumption that an experiment has no neighbors. A serious audit has to publish those boundary conditions alongside the model’s stopping behavior.
Anthropic has published a prototype index for measuring how much of its artificial-intelligence research is being done by Claude. In the company’s August snapshot, Claude “led” 26% of AI research and development tasks, meaning it could complete most of a task from a high-level prompt while a human supervised. Over 90% of the work met Anthropic’s broader definition of collaboration. The share at the lead level was below 1% in February. Anthropic also reported about 30,000 research and engineering agents on its most-used internal platform, with every action passing through an online monitor and a smaller share escalated for review.
The announcement turns a private development process into a public accounting problem. The index gives shape to a question that usually arrives as a prediction: how much of the work that builds the next model is already delegated to a model? Its limits are visible. Anthropic used its own systems to catalogue and judge tasks, froze the basket of work, and says the methodology needs third-party verification before laboratories can be compared. A percentage can therefore illuminate a trend while still carrying the institution’s assumptions inside it. Regular reporting would let workers, regulators and researchers watch the pace change instead of receiving a finished model as the first public evidence. The useful test is whether the number can survive an outside audit, a revised task list and a comparison with another lab’s records.
