When I was 23 years old, fresh out of journalism school, I went to work at The Associated Press bureau in Minneapolis. This was in 1995, just before the internet and email became widely accessible, and the AP still distributed the news — all the news that was fit to print — by printer. In  ...

By Esther Callahan The Vietnam War, which ended 44 years ago, may seem long ago and far away. But the damage remains acute: more than 58,000 Americans and an estimated 3 million Vietnamese dead, hundreds of thousands wounded, and a shattered faith in the United States government. In the end, after decades of trying to  ...

On the morning of January 28, 1976, Kim Jones stepped into his combat boots, pulled a nylon stocking over his face, and slathered himself in mud. He strapped an unruly lattice of sticks — held together by twine and electrical tape — to his back, as though he’d been lying on a forest floor for  ...

By Casey Riley and Tim Gihring Meadow Muska was born in St. Paul, Minnesota, in 1952, and grew up in the nearby suburb of Roseville. She earned a degree in photography from Ohio University and eventually got a job as a staff photojournalist with a small-town newspaper in Oregon. It didn’t last long. She was  ...

Do not dismiss Jonathan Herrera Soto’s exhibition “In Between / Underneath (Entremedio / Por Debajo)” as yet another political commentary. The exhibition, which is on view in Mia’s U.S. Bank Gallery through November 3, consists of three print series: Love Poems/Poemas de Amor, Untitled/Sin titulo, and In Between / Underneath (Entremedio / Por Debajo). In each of these works,  ...

Joe Horton grew up in Milwaukee, studied psychology at the University of Wisconsin–Eau Claire, and eventually gravitated to the Twin Cities, where his mix of music, theater, visual art, and philosophy has attracted a cohort of steady collaborators. (Horton would call it a collective if that didn’t sound so precious.) He is currently the artist-in-residence  ...

“What if the way you experience the world, your perspective, and all that informs it were turned on their head?” The question is posed on the wall label for three films presented in the “Mapping Black Identities” exhibition now on view at Mia. It’s a disarming question, inviting the visitor into the space as an active  ...

In the world of Julie Buffalohead, coyotes wear tutus, host tea parties, and play with shadow puppets. They, and their fellow animals, are allegorical figures — stand-ins for subjects both overtly political and deeply personal. Now, one of Buffalohead’s anthropomorphic fables, called The Garden (a sly commentary on the controversy over a scaffold sculpture at the Minneapolis Sculpture  ...

When Mia began designing “Hearts of Our People: Native Women Artists,” the first major exhibition of work by Native women artists, the museum wanted to avoid overt references to indigenous motifs, like zig-zag patterns or crosses. For a while, it even considered painting the walls plain white. Ultimately, the decision was made to go with three  ...

For the better part of a hundred years, the Tudor Room at Mia changed very little. It was the museum’s first period room, and everything about it—the paneling, the furniture, the stained-glass windows—evoked upper-class England in the 1600s. Now, a new tale is unfolding there. “Turkish Rugs on Tudor Walls: 16th-century Trade between England and the Islamic  ...