What’s Happening: At the Minneapolis Institute of Art, the restless writer, professor, and artist mounts thousands of archival photographs to show the tangible labor required to carry out the now-prohibited act of providing safe abortions.

The Download: The work of Carmen Winant gathers together strategies of photography, archiving, assemblage, and installation art; of recollecting, recommending, revising; of place-making both in the sense of a room of one’s own and a seat at the table. In her 2018 Museum of Modern Art opus “My Birth,” Winant transformed gallery walls into uterine walls, cloaking them with some 2,000 images of people delivering each other. Since then, of course, the Supreme Court removed the right to reproductive health from the constitution, which has led to the shuttering of abortion and other healthcare clinics across the country.

In her new show “The Last Safe Abortion,” Winant transforms the Minneapolis Institute of Art’s Perlman Gallery into a kind of family photo album of caregivers. Photographic prints at the scale of snapshots fill a floor-to-ceiling grid at one end. Two walls hug this installation. One offers a towering corkboard of photographs, the material linking to forms of inter-office comms. It emphasizes that while reproductive healthcare might be a calling for some, it was—it is—also a profession.

The second wall beckons with enclosed display cases of further photographs and archival materials Winant sourced from the collections of newspapers, universities, women’s archives and, most importantly, abortion and health care clinics throughout the American Midwest. And new photographs taken for the exhibition document the labor involved in helping people decide whether or not they will go into labor.

“Part of Winant’s practice is really going into archives to think deeply about women’s history,” says Casey Riley, the Institute’s Chair of Global Contemporary Art and Curator of Photography and New Media. “She thinks not only about the voices and experiences that archives can hold, but also the material echoes.” These ripple out in images of healthcare workers scheduling appointments, offering sex ed classes, moving through their workdays. “This show is thinking about civil rights, about the individual and society. And also, at the same time, our obligations to one another, what it means to create spaces where we can ensure that people are seen and heard and understood and cared for.” This work goes on.

In Their Own Words: “Reproductive rights have been whittled away for decades, and long preceding the recent Dobbs decision,” Winant says. “Creating a stigma around this procedure, which one in four women in this country receive, has been a deliberate tool in that attack. For years, I’ve wanted to develop a project that contends with the normalcy of these healthcare services by offering up a multitude of images that demonstrate its ordinary processes and procedures. This installation is indebted to the people who do this work, for sharing their photographic material with me, but also for opening their doors to allow me to photograph in those same spaces.”

Surface Says: From health education and contraception to abortion and other gender-affirming care, the right wing wants to demonize and erase our abilities to care for one another. Carmen Winant’s work stands in their way with grace.

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If robots really are taking over, then we’ll need a stiff drink. Perhaps one by the Dispensary? The star of The Alchemist, Glasgow’s new celestial-themed bar by Rogue Projects, the Willy Wonka–esque machine offers patrons a trio of whisky cocktails with the push of a button. After slipping a custom-designed brass coin into the apparatus, visitors can gaze in wonder as it crafts a Nearly Naked, Peach Fuzz, or Sour Trip.

First, the cocktail is mixed in a series of lab glass and piping, viewable via an infinity space in the back of the cabinet. Then, the drink is poured in the seamless, illuminated Corian and acrylic front portal. Built with Nicholas Alexander, the Dispensary is clad in recycled paper and natural resin, with a circular recycle loop aluminum structural frame. But can it say Slàinte Mhath?

Just 18 months after Turkish tattoo artist Eva Karabudak announced her first studio (complete with second-floor loft and Japanese-inspired garden) on Williamsburg’s buzzy Havemeyer Street, she returned with partner Peter Jenkins to open Atelier Eva’s second location close by on Grand Street. Alp Bozkurt has reimagined the building, its origins dating to an 1895 hardware store, as a progression of transparencies: once clients penetrate the retail footprint facing the street, they sink deeper into the 3,000-square-foot space via a series of archways—a reflection of the whimsical, round portals that often appear in Karabudak’s work—that gradually reveal artist stations, timber trusses, preserved skylights, and gathering spaces.

Walls of polycarbonate panels unify the 115-foot-deep studio, complimented by slick charcoal and eggshell palettes illuminated by fixtures from Apparatus and Flos. A Togo Sofa offers a soft resting spot, perfumed by a signature gardenia candle by Joya Studio, for clients to consider their next tattoo—or perhaps a piercing, the 21st-century hardware of choice.

Our new weekly scoop on industry players moving onwards and upwards.

Eight years after Piero Lissoni launched his interiors studio, Lissoni New York, in the United States, the firm has expanded by introducing architectural services. Lissoni Architecture aims to transform the scale of the firm’s stateside operations and will be led by both Lissoni and Stefano Giussani, who serves as chief operating officer.

Three new members have been appointed to the New Museum’s Board of Trustees: Stephanie Horton, Douglas McNeely, and Nari Ward. Additionally, the museum named the late Toby Devan Lewis, who led the Board of Trustees for 27 years and will be the namesake of the museum’s upcoming OMA-designed building, as an Honorary Trustee in Memoriam.

The curator, writer, and art historian Iwona Blazwick will curate the 18th Istanbul Biennial. She currently serves as chair of the Royal Commission for AlUla’s Public Art Expert Panel in Saudi Arabia and was the former longtime director of Whitechapel Gallery.

EXPO Chicago, which was recently acquired by Frieze along with The Armory Show, has named the curators for its 2024 edition: Amara Antilla, senior curator at large at the Contemporary Arts Center in Cincinnati, and Rosario Güiraldes, curator of visual arts at the Walker Art Center in Minneapolis.

Office tower lobbies stow some of Manhattan’s most under-appreciated artistic gems—and a dazzling new Sol LeWitt triptych is joining the ranks. Bars of Color Within Squares now adds a welcome splash of color to the shimmering triple-height lobby of 425 Park Avenue, a new skyscraper designed by Foster + Partners at 56th Street. L&L, the building’s developers, procured the piece from Paula Cooper Gallery, which carefully followed meticulous installation instructions the artist left before he died, in 2007. The artwork is in good company: Yayoi Kusama’s immersive Narcissus Garden, first shown at the Italian Pavilion at the 33rd Venice Biennale in 1966, also resides in the building.

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Amy Corson fashions portraits of famous musicians using unspooled cassette tapes.

A meme video operation may have swallowed Ron Desantis’s campaign.

Lighting wizard Chris Kuroda has brought over 1,750 Phish gigs to life.

Striking actors are making personalized videos on Cameo for some extra cash.