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Newsletters

Dan Duray

Contributing editor Dan Duray is a writer in Brooklyn whose work has appeared in Puck, The Guardian, Vanity Fair, Bookforum, The Baffler, The Economist, W magazine and Town & Country, among other publications.

  • Dan Duray
  • @dduray8
A messy bed with white sheets and two pillows on a blue rug. There are garbage strewn around

One Fine Show: “Tracey Emin, A Second Life” at Tate Modern in London

By Dan Duray
An exterior photograph shows a white museum building with red-framed glass doors, a paved entrance courtyard, outdoor seating and surrounding trees in late-afternoon light.

The Aldrich’s First Decennial Takes Stock of Contemporary Art in Connecticut

By Dan Duray
A sculptural assemblage in black leaning against a cream-colored wall

One Fine Show: “Louise Nevelson, Mrs. N’s Palace” at the Centre Pompidou-Metz

By Dan Duray
A gallery room with deep blue walls featuring two abstract paintings, one with multicolor rectangles on a gold background and another dominated by black and white blocks, with two visitors sitting on a wooden bench observing the artworks.

One Fine Show: “Beyond Mysticism, The Modern Northwest” at the Seattle Art Museum

By Dan Duray
An altar-like wooden cabinet combines expressive painted panels and handmade puppets arranged in a theatrical tableau against a black wall.

One Fine Show: “Paula Rego, Dance Among Thorns” at MUNCH in Oslo

By Dan Duray
An art fair booth

Five Works That Stole the Show at Frieze New York

By Dan Duray
A large Gerhard Richter artwork featuring thick red and orange abstract paint layers framing a photograph-like gallery scene with two older visitors walking through an exhibition space.

Gerhard Richter, Franz Kline and the Art Marian Goodman Never Let Go

By Dan Duray
A large installation of suspended geometric structures made from colorful venetian blinds and metal frames hangs throughout a high-ceilinged gallery space illuminated with pink and orange light.

One Fine Show: “Haegue Yang, Star-Crossed Rendezvous” at LA MOCA

By Dan Duray
A woman wearing black stands with her hands in her pockets in an empty exhibition space

De Pont Director Maria Schnyder On Why Financial Independence Is a Museum’s Greatest Asset

By Dan Duray
A trio of differently sized vintage-looking vending machines selling cocktails, milk and soup from the film Asteroid City

One Fine Show: “Wes Anderson, The Archives” at the Design Museum in London

By Dan Duray
A split layout pairing a crowded gallery opening—visitors mingling around a large, colorful textile-like installation in an industrial space—with the same portrait of the woman on the right.

Curator Adriana Farietta On Why CONDUCTOR Is the Fair the Art World Needs Right Now

By Dan Duray
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