by K.A. Letts | April 25, 2025Homecoming: A Review of “Return to Turtle Island—Indigenous Nation-Building in the Eighteenth Century” at Toledo Museum of Art, Ohio
by K.A. Letts | April 22, 2025Still Lively: A Review of “Rachel Ruysch: Nature into Art” at Toledo Museum of Art
by K.A. Letts | April 10, 2025Resilience and Tenacity: A Review of “Illiminality—Compressed Spaces” at Galerie Camille, Detroit
by K.A. Letts | February 21, 2025The Vicissitude of the Rust Belt: A Review of “In Their Own Backyard—Michigan Artists and Architecture” at Flint Institute of Arts, Michigan
by K.A. Letts | February 7, 2025Magical Assemblage: A Review of “Let’s Get It On—The Wearable Art of Betye Saar” at Neubauer Collegium
by K.A. Letts | January 21, 2025Herstories of Clay: A Review of “Making Her Mark” at Flint Institute of Arts
by K.A. Letts | December 18, 2024Surrealism 2.0: Four Exhibitions at MOCAD that Define New-Wave Surrealism
by K.A. Letts | November 25, 2024Detroit Art History: A Review of “How We Make the Planet Move” at Cranbrook Art Museum
by K.A. Letts | November 11, 2024Carriers of Culture: A Review of Kelly Church and Cherish Parrish at Stamps Gallery, Ann Arbor
by K.A. Letts | October 30, 2024Solace and Spirituality: A Review of “Grace Under Fire” at the Shepherd in Detroit, Michigan
