ARCHIVES

Gilbert Stuart’s Washington portraits evoke art history’s most famous�and enigmatic�smile.

Isamu Noguchi was a man of dualities: West and East, coarse and refined, optimist and realist.

�Comic Grotesque� recalls an era of German satire with an outrageous, vicious bite.

The Guggenheim’s Aztec show revels in brutal theatricality; the Met’s China exhibit goes for the Buddhist steeliness of inner peace.

Authorities closed down a show at JFK’s grand, shuttered TWA terminal after the opening got out of hand. Too bad: The building alone is worth a visit.

The old Barneys building in Chelsea�with spiral staircase intact�is reborn as a lovingly curated museum of Himalayan art.

Atsuko Tanaka’s plugged-in dress has managed to do what most other performance art can’t: maintain its power for decades.

A tour of the city during the Republican National Convention suggests that contemporary political art is in a sorry state.

In the soot drawings and elaborate organic-looking sculptures of Lee Bontecou, glimpses of the eternal.

How Ed Ruscha’s drawings and photographs� of signs, gas stations, parking lots�put viewers in an L.A. state of mind.