in partnership with Art in America

Art in America Hosts a Breakfast Discussing Art Criticism and the Current Market -

Want the insider know-how on the art market before the Frieze New York art fair? Don’t miss this informative event


Join Art in America editor William S. Smith and the staff of the magazine to discuss the future of art criticism. In an ever-expanding global art world where information travels at the pace of social media, informed perspectives and deep insights can be scarce. What is the role of criticism in this hyperactive cultural environment? How can print publications stay relevant? Drawing lessons from Art in America’s rich archive, this discussion will focus on how attentive, focused looking and reading are the most valuable forms of engagement now. In today's world, slowing down to think and consider can mean staying ahead of fleeting trends.

For more than a century, Art in America has published groundbreaking critical insights about contemporary art and culture. Each monthly issue features exhibition reviews, interviews with leading artists, and in-depth essays by critics, curators, and scholars at the forefront of their fields. Recent thematic issues have examined topics ranging from digital technology in museums to contemporary Indigenous art. Established in 1913, Art in America has earned a reputation for promoting informed analysis of the most important art movements in the United States and around the world. Between its flagship print edition and growing digital presence—bolstered by more than a million followers on social media—Art in America today reaches both influential art world insiders as well as a broad audience invested in understanding pivotal cultural trends.

About William S. Smith:
William S. Smith is an editor and art historian who joined the Art in America editorial team in 2013. Since then, he has contributed numerous articles to the magazine, on topics ranging from abstract painting to digital technology in museums. William is a founding editor of the online magazine Triple Canopy, where he has published essays, curated digital artwork, and organized public programs in partnership with the Museum of Modern Art, the New Museum, the Museum of Contemporary Art Denver, and other institutions. In addition to holding curatorial positions at New York University’s Grey Art Gallery, Art in General, and the Fabric Workshop and Museum, William has lectured frequently at the Museum of Modern Art in New York and taught art history courses at New York University, Colorado College, and Pratt Institute. He holds degrees in art history from New York University’s