In its October 19, 2026 edition, The Christian Science Monitor Weekly devotes a double-page spread to an interactive sculptural installation. I mention it for its photograph, which is hardly anything special in itself, though it has something striking about it. The contrast between the abyssal blue of the background and the gentle lines of light is lovely.
CAM presents more than 150 photographs and archival materials in the first career retrospective devoted to Nancy Rexroth.
Edie McKee Harper’s photographs, paintings, weavings, and prints go on view October 17 at the Taft Museum.
A FotoFocus show pairing artworks with the photographs that inspired them ends November 13 in Northside.
The Art Academy of Cincinnati opens a comics art exhibition with original work by more than 30 artists.
Artist and writer Andrew Sungtaek looks at Donald Judd’s time in occupied Korea in a free lecture at NKU.
Lexington artist Kim Dixon talks about her artwork in the touring Celebrating the Black Experience exhibit in Erlanger.
Cincinnati artist Terence Hammonds pairs new printed ceramics, wallpaper and textiles with museum objects about Black history.
Artist Lydia Smith discusses her installation Cyclorama and the Norwood Mound in a free talk at The Carnegie.
I have sometimes thought about what, for once, I might call “the oneiric substance,” if only to steer the question into less sinister territory: do dreams arise from experiences not fully processed, or are they autonomous energetic structures, detached from various material or temporal sources, that pass through the mind in search of the lost warmth of emotions? The question has its beauty.
In encounters with certain works of contemporary visual art, perception activates modes of association that situate aesthetic experience in territories where matter, gesture, and time intertwine. Elizabet Cerviño’s (Manzanillo, Cuba, 1986) exhibition The Rhythm of Resilience, recently presented at Gallery 114 in Ybor City, Florida, unfolds within this horizon.
In the summer of 1965, a young black man was pulled over by a white police officer for suspicion of driving while under the influence. The incident occurred on August 11 on the outskirts of Watts and brought with it an unsettling exchange. What initially began as a roadside argument quickly escalated into a fight, attracting the attention of a growing group of onlookers.
In 2013, the announcement that Garth Risk Hallberg, a debut novelist, was to receive an advance of nearly two million dollars, set the literary world atwitter. A New York Times article stated that the book drew a two-day bidding war, prompting ten publishers to offer more than a million dollars.
The brilliantly gifted novelist Mary Gaitskill, whose novel Veronica was a finalist for The National Book Award some years ago, and which showcased the greed and narcissism of the 1980s through the character of a high fashion New York model, has returned with her equally impressive The Mare.
Whenever I take part—as a curator or a viewer—in an exhibition bringing together several artists, seven women in this case, any number of men or any combination of the two sexes, I try to imagine the reasons, the implicit mystique that such a combination requires.
On Saturday, September 12th, The Annex Gallery brought together some forty people for an evening of celebration and fundraising dedicated to advancing the education of children living in some of the world's poorest communities. Jens G. Rosenkrantz and Kay Hurley, mother of Katie Hurley Wales, opened the gallery to host a benefit for Brighter Children, the organization led by Katie, under the banner Gather with Purpose.
Beyond I.T.I.N.E.R.A.T.I.O.N.S., at The Annex Gallery, The Most Merciful Thing in the World, by renowned American artist Trevor Paglen, was the first exhibition I visited in the current FotoFocus Biennial at its main venue. Open since October 1, it held its official reception only yesterday, on the 3rd, following a performance-lecture by Paglen. This carefully conceived exhibition has been curated by Kevin Moore, Ph.D., Artistic Director and Curator of FotoFocus.
Five of Britain’s biggest banks, HSBC, Nationwide, NatWest, Barclays and Lloyds, have moved to keep AI agents out of their customers’ accounts, The Telegraph reported on November 8. An AI agent is a program that carries out tasks for a person, such as paying bills or moving savings, often after the person hands over a username and password. Some of the banks specifically bar these programs from making payments without the customer’s direct involvement. The bans are preventive. Lloyds’ finance chief, Will Chalmers, said the bank had seen no sign of agents getting into accounts but guards against the risk. In October, Citi, Bank of America, Wells Fargo, JPMorgan Chase and Morgan Stanley took similar steps in the United States.
The banks’ worry is who pays when software makes a mistake with someone’s money. JPMorgan’s chief executive, Jamie Dimon, told investors he did not want “rogue agents,” adding that “there could be thousands of them.” Charles Schwab’s chief executive, Rick Wurster, said the firm blocks between 10 and 20 clients a week from using agents, including Meta’s assistant Muse, which is expected to arrive in Britain. Citi still lets approved services see account details without moving money. Wells Fargo’s online agreement, according to American Banker, treats any instruction from an AI agent as if the customer had given it, with no further check. Britain’s Financial Conduct Authority is now working with other regulators on rules for AI agents in finance.
Google will turn off its AI tools for school students unless their schools decide to switch them on. In a blog post on Tuesday, November 3, the company said Gemini, its chatbot, along with Gemini Notebook, Gemini in Classroom and Google Search, will be off by default for K-12 student accounts, the accounts schools manage for children from kindergarten to high school. Administrators can turn on one, two or all of these services. Google told AFP the change will roll out worldwide, starting in the United States, but gave no date. It reverses a choice made in August, when Gemini in Classroom was opened to students of all ages and switched on automatically in schools that already allowed Gemini.
The decision came after senators Richard Blumenthal and Josh Hawley wrote to the company in October asking why AI features had been made the default on school devices. Their letter said more than 150 million students use Google Classroom. Search is on the list because AI answers are now built into it. Chris Phillips, Google’s vice president for education, told The New York Times that if a school bans AI, its students will lose Search too and see a message saying it is not available. New York City said the chatbot and AI Mode were already blocked on student Chromebooks and asked Google to remove AI summaries from students’ search results as well. Los Angeles schools said they are reviewing the announcement.
Meta has put on hold new business terms that would have let it collect material from the websites of companies that advertise or sell through Facebook and Instagram, news publishers included. In a notice to business customers on November 5, the company said the changes to four sets of commercial and advertising terms would not take effect on November 20 as planned, and that its existing terms remain in force. Early versions allowed the collected material to be used to train Meta’s AI systems, with no way to opt out. On October 16 the company removed the word “train” and limited the use to advertising and business products, but publishers kept objecting. “We’re pausing the changes as we continue to engage with stakeholders,” a Meta spokesperson told Nieman Lab.
The pause followed court orders in two countries. On October 28, the Oslo District Court ruled that the terms could not take effect in Norway until a court reviewed whether they are legal, after a request from an association of Norwegian media companies that includes Schibsted, NRK and TV2. On November 3, a judge in São Paulo barred Meta from collecting and using content from members of three Brazilian newspaper, broadcaster and magazine associations without permission, including for AI training, with a fine of 1 million reais per day, capped at 100 million, if it does not comply. Britain’s competition regulator is also investigating whether Meta used its dominant position to impose unfair terms on publishers and advertisers.
