From the blasphemous La Ricotta to the acclaimed Gospel According to St. Matthew to scathing condemnations of the bourgeoisie.

Itinerant internet poet Steve Roggenbuck breaks free from the shackles of Word documents.

The end of summer is approaching and all your unfulfilled fantasies of a season of adventure and self-improvement may be crashing down, but we have a three-step antidote to indolence-induced guilt.

The man was an enigmatic figure: aristocratic yet populist, broadminded yet abrasive and intolerant.

“Plagiarism should be celebrated,” declares Chris Habib, author of Plagiarist and organizer of Printed Matter’s group exhibition HELP/LESS.

Nietzsche the Nazi? You can blame the philosopher’s sister for that slander.

Vanity Fair recently released a preview of Hitchen’s foreword to Orwell’s diaries, showing how both consensus-spurning authors crafted their critiques.

A Farewell to Arms articulated the trauma of a generation. Turns out the work could have ended forty-seven different ways.

This summer, painter Sam Messer, associate dean of the Yale School of Art, is curating a group show that masquerades as a retrospective of work by the fictional artist S, whose biography was written for the show by author Jonathan Safran Foer.

Even though Venus over Manhattan is in the heart of art world bustle on Madison Avenue, the gallery sits in stark contrast to the white walls of its neighbors. The space looks more like a bomb shelter than a place for exhibiting art, which is exaggerated by the fact that its inaugural show, À Rebours (Against Nature), takes place in near-darkness.

DC poet Brash spouts art criticism faster than a speeding bullet.

Twelve years ago Turkish writer Orham Pamuk set out to compose a novel in the form of a museum catalog. His first step, naturally, was to go looking for real estate in Istanbul for his museum.