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The Most Merciful Thing in the World

Trevor Paglen and the Contemporary Visual Machinery

October 4th, 2026 | By Jorge Rodriguez

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.

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In the Middle of the Endless Water

September 28th, 2026 | By Jorge Rodriguez

In the Middle of the Endless Water, a solo exhibition by Julia Orquera Bianco curated by Carolina Cuervo at the Philip M. Meyers Jr. Memorial Gallery at the University of Cincinnati, brings together more than a decade of work by an artist whose practice has gradually moved from the personal experience of migration toward an inquiry into territory, memory, ecology, and alternative forms of knowledge.

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The Semiology of Decay

September 26th, 2026 | By Jorge Rodriguez

I suppose that, like me, hundreds and probably thousands of viewers developed a dark sympathy for the character of Hannibal Lecter. The two actors who, to date, have embodied him most memorably are Anthony Hopkins and Mads Mikkelsen. The character displays extraordinary intelligence and self-control. He conducts himself according to his own rules and ethical codes.

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A tall conical glass spray bottle with a woman's face painted in dark enamels on its pale surface, photographed against black with its reflection below.

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Reflections on Works by British artist Joanna Manousis at Atmosphere Gallery in Neusole Glassworks

March 21st, 2013 | By Marta Hewett

Joanna Manousis displays the thoughtful decision making and control of media that allow her to successfully break out of the identification as a “glass artist” and bring her works squarely into the realm of contemporary art. Her glass and mixed media pieces are wrought with symbol, history and mysterious ambiguity.

James Welling, 0818, 2006: the Glass House bathed in golden sunlight with lens flare, inkjet print.

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Subtle Bodies

March 21st, 2013 | By Denise Burge

“It's not that I don't care about content, but content is not the only way a photograph has meaning."1 ~ James Welling

Black-and-white print by Elizabeth Catlett showing the close-cropped face of a woman, titled The Black Woman Speaks.

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A Monumental Collection: Perspectives from the David C. Driskell Center

March 21st, 2013 | By Christopher Hoeting

Only when we recognize the historical patterns of isolation and accept the responsibility of supporting those artists who express themselves in a universal language of form will black American artists be seen as major contributors to the art of this century. – David C. Driskell

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I.T.I.N.E.R.A.T.I.O.N.S.

September 1st, 2026 | By Jorge Rodriguez

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.

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Crossing the border

August 31st, 2026 | By Jorge Rodriguez

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...

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Can a New Iconography Recompose a Shared Identity?

August 28th, 2026 | By Jorge Rodriguez

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.

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Conceptual AI-generated grayscale image of a heavy mechanical brake lever beside an industrial conveyor in an empty workshop.
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The Pace Without a Vote
October 8th, 2026 | By Jorge Rodriguez

Sixty-four percent of U.S. adults think artificial intelligence is developing too quickly, according to an AP-NORC poll released October 8. The concern reaches across party lines, with 76 percent of Democrats and 54 percent of Republicans sharing that view. Eight in ten want the government to prioritize protecting workers and keeping AI under human control. Yet 39 percent trust neither major party to handle the issue well. The survey interviewed 2,140 adults in late September. It measures public attitudes, not the technical danger of a particular model, and its majority cannot be read as a demand to ban every use of AI.

A worker can be offered an AI tool while having little say over the timetable for replacing the task it performs. The same distance separates a resident from a company’s release schedule. Public concern has no automatic route into either decision. That helps explain why an appeal to speed can sound so different from inside a laboratory and from a household planning next year’s income. The poll places worker protection beside human control, giving officials a specific pair of demands to answer. A credible response would connect deployment decisions to notice periods and ways to challenge an automated decision. Otherwise, the next product can arrive before the affected employee learns which part of the job has been reassigned.

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Conceptual AI-generated grayscale image of a domestic intercom speaker with a disconnected cable in an empty hallway.
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The Alert That Never Arrived
October 7th, 2026 | By Jorge Rodriguez

ChatGPT’s promised parental alerts face a disputed safety test. On October 7, Common Sense Media rated the teen version an unacceptable risk and urged OpenAI to limit access to adults until its protections improve. Researchers posing as teenagers reported that new, parent-linked accounts produced no alerts during crisis conversations lasting up to an hour. These were simulated tests, not accounts of children being harmed. OpenAI disputed the findings, telling AP that much of the testing may have ended before parental controls had fully activated. Common Sense says it also recorded failures beyond that activation window. The disagreement leaves families with competing accounts of when a safety feature becomes dependable.

Parents who link an account may reasonably assume that an urgent warning can reach them. A delay changes what that setting means, especially during a first disclosure that has no weeks of conversation history behind it. The test therefore raises a practical demand for the interface. It should state when monitoring becomes active and explain the limits of an alert, without borrowing the reassurance of a human adult watching the conversation. Independent checks need to distinguish a newly linked account from one that has been monitored for days. A family deciding whether to permit the chatbot needs that difference displayed where it switches parental notifications on.

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Conceptual AI-generated image of studio headphones inside a locked glass display cabinet.
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The Song Behind the Terms
October 6th, 2026 | By Jorge Rodriguez

Italy’s competition authority opened an investigation into Suno’s terms of service on October 6, questioning whether the AI music platform gives itself excessive power over its customers. The regulator says the contract appears to permit changes to subscription prices and account termination, including associated content, without prior notice in the latter case. It also questions the breadth of the licence users grant over their material and provisions requiring individual arbitration in the United States. These are concerns under investigation, rather than findings of a violation. Suno lets people generate music from prompts, but the regulator’s scrutiny concerns what they accept before using that capability.

A person who spends weeks refining a song can become attached to an account as well as to the recording. If access ends, continuing the work elsewhere depends on what they have exported and what the contract permits them to reuse. Cheap production can therefore leave a costly dependency. The platform supplies the tool and writes the conditions governing the customer’s relationship with it. A creator may spend hours choosing voices and revising lyrics while scarcely reading those conditions. The Italian inquiry brings that imbalance into view without settling the separate disputes over training data. For a subscriber preparing a song for release, the practical questions include whether a price change permits cancellation and what happens to saved work when the account closes.

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