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.


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.

Edie McKee Harper’s photographs, paintings, weavings, and prints go on view October 17 at the Taft Museum.

Artist Marzena Abrahamik discusses her photo exhibition Girl Play at a free October 30 talk in Cincinnati.

Bring one or two personal photos and share their stories at a free CAC program for adults on October 30.

Artist Rhys Watkins leads free multisensory exhibition tours and audience discussions at Here and Now in Newport.

Featured artists discuss their work and the theme of unity at a free GALLERY jENSEITS panel in Mt. Adams.

Cincinnati artist Terence Hammonds pairs new printed ceramics, wallpaper and textiles with museum objects about Black history.



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.

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.



The Bernheim Arboretum’s overriding mission is to “explore [our] deep connections with nature.” This is not trite lip service to faddish “eco-tourism” or to the type of environmentalism that considers nature as a separate entity that one looks upon as a subject. Bernheim, and the Fresh Air show, embodies Shakespeare’s obvious but overlooked concept that “we are nature too.”

Alice Aycock was a seminal presence in the New York avant-garde art scene in the 1970s, and has since continued to create work that simultaneously dissects and combines aspects of monumental sculpture, architecture, science and modern machinery.

The Burden of Violence: Todd Pavlisko’s “Crown” at the Cincinnati Art Museum through June 15th.



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.

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.



On Thursday, a federal appeals court took a Mississippi case away from the judge who had been handling it, after concluding that his rulings were marred by errors produced with artificial intelligence. The case is about a 2025 state law that bans diversity, equity and inclusion programs in public schools and universities. Teachers, professors, students and the Mississippi Association of Educators sued, and in the summer of 2025 Judge Henry Wingate blocked the law. His first order named people who were not part of the lawsuit, pointed to statements that did not exist in the case file and misquoted the law itself. Wingate later said a law clerk had used Perplexity, a chatbot that searches the web and writes answers, as a “foundational drafting assistant,” and that a draft was filed before anyone in his office had checked it.
A three-judge panel of the Fifth Circuit Court of Appeals canceled the later order that kept the law on hold and sent the case to a different judge. Judge Jerry Smith, who wrote the decision, pointed to the AI mistakes and the errors of law in Wingate’s rulings. The state had argued that an invented case citation survived even in the corrected version. The appeals court did not decide whether the law itself is constitutional. That question now goes to a new judge, and while it is argued again, the ban is no longer blocked in Mississippi’s schools and colleges.

In a busy emergency room, someone has to decide who gets seen first. Hospitals are starting to test AI programs for that job, and a study from UT Southwestern Medical Center, published this week in npj Digital Medicine, shows how easily those programs can get it wrong. Researchers used real records from the emergency departments at Stanford and at Beth Israel Deaconess in Boston. They paired patients who looked equally sick when they arrived, knowing that one of each pair later got worse. Then they asked three AI models which patient should come first. On their own, the models usually chose correctly.
The results changed when the researchers added a single detail to one patient’s file. A line such as “17 visits in the past 12 months,” or a history of psychiatric emergencies, made the models more likely to move that person down the list, even when that was the patient about to get worse. In some tests, close to one in ten patients was wrongly downgraded. Emergency staff sometimes call these patients “frequent flyers,” and many keep coming back because they are chronically ill, have no regular doctor or have nowhere else to go. The experiment used past records, so no real patient was harmed. Dr. Philip Jarrett, the study’s lead author, says each hospital should check these tools against its own past patients before letting them help decide who waits.

Teen test accounts could download dozens of AI image-manipulation apps despite parental controls, the Tech Transparency Project reported on October 19. Researchers created four accounts registered as 13-year-old boys, comparing default settings with parent-supervised accounts on Apple and Google. The supervised accounts could access 24 apps on Apple and 51 on Google that TTP classified as nudification tools. Its definition includes generating images in underwear or swimwear. Apple disputes that classification for some mainstream editors and says it prohibits nudification apps. Google says it bans them too and suspended apps that violated its policies. These were controlled tests, not records of children using the services.
An age restriction depends on the accuracy of the label attached to each app. TTP says both stores rely on developers’ descriptions to assign those ratings. A parent asked to approve a download can therefore be making a decision with incomplete information about what the software allows. The store has already reviewed the product, placed it in a category and made it available. That chain should be checked against the app’s actual functions, including features added after approval. TTP also found that some apps removed from store listings still worked on its test phones. Taking down a listing closes one route to installation. Families also need clear notice about an installed app whose capabilities have made it unsafe.
