The first time I encountered Andy Warhol's The Last Supper (Christ 112 Times) (1986), it was not in the galleries of The Modern. It wasn't even in the United States, for that matter...

Now that Andy Warhol: The Last Decade has been at The Modern for a few weeks, I've had the opportunity to take several of my friends on tours through the galleries, where we actively discuss and debate over Warhol's final work. I always find my friends' reactions to Warhol's Rorschach pieces interesting...

Since Ed Ruscha’s illustrated version of Jack Kerouac’s On the Road is such a key component of the Modern’s exhibition Ed Ruscha: Road Tested, I decided to read the book. I had heard of it in a couple of English classes, but never read it before and wasn’t entirely sure what to expect...

Admittedly, drawing a correlation between the fluorescent light-fixture art of Dan Flavin and the teachings of one of Greek philosophy's founding fathers might be a stretch. What could possibly connect this unlikely pair, who at first appear to be so very, very different? The answer is simple: light.

For someone who claims not to like art, Stephen Colbert possesses an uncanny ability to recognize (and exploit for comedic purposes) one of several on-going debates circulating throughout the Art World.

This brings me to my favorite find in the intern nook: a series of Kodak photographs of the 10.96-acre plot of land across the street from the Kimbell Art Museum and adjacent to a much-less-crowded University Drive. The photos were taken circa 1997 and depict the land upon which the Modern Art Museum of Fort Worth’s current building would be constructed...

I grew up in the age of Super Nintendo and Nickelodeon cartoons. Bright colors, animated characters, and pixilated shapes were familiar aspects of my world, part of the visual language of my childhood. Therefore, it is with a mixture of amusement and nostalgia that I'm beginning to see such well-known elements of my youth reappearing in artworks hung on museum and gallery walls...

In my opinion, Cone Flow is not an exhibit that focuses on the objects. Instead, it is an exhibition that focuses on space: how the objects interact with museum space, how cultural space is negotiated, how sound creates, affects, and transforms space.

In The Modern's latest FOCUS exhibition, Ben Jones takes the term "mixed media" as literally as possible, creating pieces that utilize wood, canvas, and video projections (along with his trademark affinity for animation and comic book illustration).

The first work of art that a visitor sees when walking into The Modern's downstairs galleries is Robert Motherwell's Stephen's Iron Crown (1981). While the painting is rendered in simple black and white, the subject matter remains somewhat ambiguous. As it turns out, this piece is a nod to the literary influence of James Joyce upon Motherwell and his work.

One of my favorite holidays is fast approaching: Halloween. And while it's fun to dress up in costumes, my favorite part of Halloween has always been the legends and stories that accompany it...