Today, a glimpse into Jeffrey Gibson’s historic and exuberantly colored US pavilion at the Venice Biennale, the first by a Native American artist. We also report on Benin’s first-ever national pavilion and a sinister outdoors poster campaign by Ukraine’s representatives.

Meanwhile, workers at the Guggenheim Museum rally for a new union contract, and MFA students at New York University present their best work. Nearby, we pay a visit to an artist who decided to sit in Manhattan’s Washington Square Park for 10 days to watch a single black bean grow in her hands.

Also today: Five shows in Chicago that will put a smile on your face, and what does the 19th-century French obsession with lions tell us about the country’s colonial ambitions?

— Hakim Bishara, Senior Editor

The historic exhibition brings resounding echoes of resistance amid an enduring struggle for Indigenous autonomy across the American continents.

Work by 31 emerging visual and sound artists on view April 20–May 19 in NYC.

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Guggenheim Museum workers rally for a fair contract in a lunch break action on Friday, April 19.

The Smithsonian’s National Museum of American History in Washington, DC, evacuated staff on Thursday, April 18, after a bomb threat was called into the museum.

Everything Precious Is Fragile is an opportunity to collapse the conventions that define the nation in the global popular imagination.

Presented by the Taipei Fine Arts Museum, the Taiwan Collateral Event takes place in a dark, home-like setting at the Palazzo delle Prigioni.

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The maps show the location of the Ukrainian Pavilion at the Biennale and the sites of real bunkers or air-raid shelters in the city from a time not so long ago.

In addition to being some combination of formally delectable, politically astute, and historically poignant, five solo shows currently in Chicago are hilarious.

Myth and Menagerie urges us to view lions as sentient beings and not as timeless, passive objects of representation for 19th-century French artists.

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While Asian-American Art may be "plagued by generational amnesia," as Sharon Mizota wrote for Hyperallergic, the artists and curators of Scratching at the Moon are definitely not.

You can see these young makers exploring techniques, probing theory, trying things out — a refreshing feeling in a city of slick art in white cubes.

In a 10-day meditation, Jemila MacEwan silently nurtures a seed in the palm of their hand amidst the hustle and bustle of the iconic public park.

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