Catherine Kaelin

Rupert Goold’s Macbeth is nothing short of terrifying.

Playwright and director Richard Foreman is celebrating two birthdays this year – his own 70th, and the 40th of his brainchild, the Ontological-Hysteric Theater.

If Project Runway has taught us anything, it’s that a needle and thread can produce fierce works of art.

At the Duke on 42nd Street, Oroonoko sets the stage for a collision of continents, ethics, and ideologies through its exploration of race relations and slavery in the 17th century.

The Museum of Modern Art fully reasserted its modernity with this weekend’s opening of “Design and the Elastic Mind.” The show, which fills an exhibition gallery occupied just a few weeks ago by the drawings of late 19th century artist George Seurat, catapults the space into 2008 by turning it into a showroom for innovative and futuristic design.

2.5 Minute Ride is a rather deceptive title for what is actually a 70-minute ride that begins in Sandusky, Ohio, passes through Auschwitz, and ends at the Canarsie Jewish Center of Brooklyn.

The LeRoy Neiman Gallery’s current exhibition “The Leisure Suite” may remind you a bit of your dorm room. Tom Sanford’s unframed painting Hamburger (2007) is casually tacked to the wall, adjacent to Colby Bird’s Untitled (Fridge) (2006), an open mini-fridge containing sixteen forties of malt liquor stacked on a shelf propped up by what looks like a ruler.

Under most circumstances, 30 would seem much too young for a face-lift—but not in the case of the New Museum, which opted for more than plastic surgery to celebrate its birthday.

When viewing Tara Donovan’s installation pieces, it can be hard to tell exactly what you are looking at. At first, that is.

Somewhere between popular theater, film, two-dimensional image, and sculpture, performance art often gets overlooked, even by the most artistically informed.

The absence of arousal can undoubtedly ruin a romantic evening. But when suspicion arises between a couple, that’s when the disastrous fireworks really fly.