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.



The Hebrew Union College-Jewish Institute of Religion, home of the Skirball Museum, was established in Cincinnati in 1875, due primarily to the efforts of Rabbi Isaac Mayer Wise, who was responsible for the organization of the College’s founding body, the Union of American Hebrew Congregations. In the mid-1850s Wise moved to Cincinnati—a city which already hosted a significant German-speaking population—as part of the...

“The Bambi [Airstream model of 1960] is a machine for living and traveling, the sort of industrialized, rationalized vessel that had long been the dream object of modernist architects, from Le Corbusier to Buckminster Fuller.” – Christian Larsen, curatorial assistant, MOMA. [1]
The aluminum-clad Airstream travel trailer conjures up a virtual cavalcade of nostalgic American archetypes, like some sort of space age prairie...

Joseph Winterhalter’s show “The Revolution Says:” at Clay Street Press, presents a portrait of a contemporary American society lacking political will and stifled by emotional inertia. He presents two large paintings on canvas, a series of small sculptural paintings, a wall sculpture of hand made tiles, and some lithographic prints. When listed this way, the work sounds formal, and one might expect a certain sensual experience...



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...



Meta launched a personal AI agent named Muse this week, and the short social-media identity long associated with the British rock band now points elsewhere. The @muse account on Instagram identifies Meta's product, while the band, which trademarked its name in 1999 and has 2.7 million followers there, uses @museband. A comparable change occurred on X, where the group now appears as @Musetheband. Neither Meta nor the musicians have publicly explained whether the transfer followed a sale, an agreement, a request or a platform decision. That missing fact matters. The visible outcome is clear; the terms remain private.
A handle looks like a name but behaves like rented space. Years of songs, tours, photographs and fan recognition can accumulate behind four letters without turning those letters into property inside the interface. The platform writes the registry, controls reassignment and can place its own product at the shortest address. Muse adds an especially dry irony. Meta describes its agent as a tool that learns what matters to each user, yet its launch began by making an established identity harder to find. The band's audience will adapt, search results will settle and the longer handle will become familiar. The old address now demonstrates the hierarchy more efficiently than any terms-of-service page. One organization owns decades of recognition; another owns the field where the name is typed.

Anthropic says it disrupted five cases in which people used Claude for research that could support biological weapons development. Its September threat report describes work involving chikungunya transmission and immune evasion, avian influenza adaptation, orthopoxviruses, venom peptides and redesigned toxins. The company banned associated accounts, helped close relay networks used to bypass regional restrictions, and strengthened its safeguards. Some requests were stopped by biological safety filters; other work proceeded because it resembled legitimate research. Anthropic withheld the scientists' institutions and countries and explicitly declined to claim malicious intent. The same methods can contribute to vaccines, treatments or dangerous pathogens.
That uncertainty places a private model provider inside the laboratory's moral chain of custody. Anthropic can inspect conversations, infer purpose from scattered sessions, close an account and share findings with authorities. Researchers, meanwhile, may conceal a harmful program or participate in one without knowing its final aim. A prompt filter cannot settle either condition. The company's proposed answer is access through trusted-user programs, which would make institutional identity part of the safety system. That may reduce risk while giving an AI firm unusual power to decide which scientist appears legitimate and which inquiry looks suspicious. Independent scrutiny is difficult because the evidence contains dangerous methods and identifying details that should remain protected. The unresolved object is therefore an unmarked sample at a checkpoint: access denied, conversation retained, researcher unnamed, and a warning delivered to a government that the public cannot examine.

A group of over twenty-five education ministers and national representatives has adopted a UNESCO statement defining education as a human right and a common good in the age of artificial intelligence. Its eight priorities ask schools to use systems that can be audited, permit data to be moved elsewhere, involve teachers in purchasing decisions, protect children according to age, and allow institutions to stop using a tool when necessary. Providers should present evidence of educational benefit before deployment and accept responsibility for harm. Governments should also calculate the full cost of ownership, including systems that first enter classrooms through free accounts, donations, or vendor agreements.
Calling education a common good shifts the argument away from policing student assignments and toward who designs the conditions of learning. A free tool can establish habits, collect material, shape assessment, and make its eventual price difficult to refuse. Portability and an exit plan belong beside lesson plans; they keep access from hardening into dependence. UNESCO's accompanying survey found that ninety-three percent of participating academics believe students use generative AI for assignments, while sixty-three percent perceive declining cognitive capacities. Fewer than one percent favor a complete ban. Governed use is the practical alternative. Before a teacher opens an AI service for a class, the institution should know who can inspect the system, export its records, challenge a decision, disconnect it, and pay the bill after the free offer ends.
