The architect Frank Gehry first grabbed the public’s attention in 1978, when he radically remodeled his own home in Santa Monica. The formerly humble suburban bungalow looked like a cartoon explosion in a lumberyard. It had a joyfully blowsy spontaneity, like a Rauschenberg “combine” you could live in. “That’s the edge I’m after,” Gehry has said of his designs. “For people to see what I want them to see, but for them to not be quite sure if it was designed or if it just happened.” As in The Wizard of Oz, there’s a man up to something behind the curtain. READ ON

“Often the assumption with Black and Brown artists is that we’re going to present a physical representation of what Blackness or Brownness, or identity, is,” Karyn Olivier told Bomb this April. “So when we don’t, it thwarts those expectations.” Born in Trinidad and Tobago and raised in New York, Olivier mainly makes installations—several are prominent public works—and elegant sculptures that are primarily non-representational but nonetheless haunted by the figurative. READ ON