Victoria Abaroa’s exhibition review, WITCHCRAFT: Brujería: animación contemporánea en Chile surmises the show, “seemed to operate like a Russian doll, with one conjuration inside the other, producing waves of expansive witchcraft.” Danelle Bernten’s exhibition review, A Superlative Palette: Contemporary Black Women Artists suggests, “What stands out about the collection of works are the various ways that each artist handles texture, color, and line while bringing Black racial identities to the foreground and background in a subtle game of chess.” Jean Bundy’s book review Objects in Exile, Modern art and Design across Borders 1930-1960, by Robin Schuldenfrie (Princeton University Press, 2024), “examines the Bauhaus in reverse—looking through a lens from a British and American perspective, provides a unique understanding of Bauhaus émigrés, who left money and art projects behind to live.” Ahil Fakih’s essay, Illuminating Darkness: Ingmar Bergman’s Artful Dance of Light and Shadow, “aims to portray Bergman as a filmmaker who treats cinema as an art form, steeped in philosophy and enriched with film noir techniques, using light, shadows, and nuanced storytelling.” Mark Sheerin’s essay, Undreamed of Lascaux: exploring an accessible, bright, and digital cave, describes 3D rendered Lascaux IV which uses, “AR devices, holograms, touch screens, VR headsets, temporary galleries and a black box video presentation….but you cannot hear dripping water or smell damp limestone….you cannot sense the weight of the surrounding cave.” Faye Tzanetoulakou’s essay, The Use of AI and the New Technological Sublime in Contemporary Art muses, “What exactly can Artificial Intelligence do in creative tasks like art, music, literature? .... A.I. art creators reproduce things that have many of the typical qualities of what we call art, yet what can easily be done with technology is not what is to be recognized as art.”