The Wellcome Collection, a London museum that explores the crossover between medicine and the arts, looks at the history of dentistry in a new exhibition.
Sara Gilbert, left, and Roseanne Barr in a scene from “Roseanne.” The series will return without Ms. Barr as “The Conners.”
Students visit the five-acre Adventure Playground at Gathering Place, part of an ambitious public park. Its active commons can function as one of the city’s central open spaces.
“The Divine Spouse,” an example of Mexican church art by Miguel Cabrera, presents Jesus as a man-child reclining on a bed of flowers. Work from “New Spain” was recognized not as a European knockoff, but a product with its own style by the 18th century.
Jaimie Alexander in “Blindspot.”
A view of the “Esperanza Spalding Selects” exhibition organized by Ms. Spalding, the Grammy-winning musician, from the collection of Cooper Hewitt, Smithsonian Design Museum.
From left, Christina Sahaida, Billy Smith (behind Ms. Sahaida), Dallas McMurray, Mica Bernas and Aaron Loux in “The Trout,” which had its premiere on Thursday at Lincoln Center’s Rose Theater as part of the Mostly Mozart Festival.
In Olivia Pope, as portrayed by Kerry Washington (left), Shonda Rhimes (right) created one of the most memorable antiheroes, let alone one of the more complex black characters, on television.
On April 11, Lucinda Childs will unveil “Histoire,” a revision and expansion of a dance she choreographed for Martha Graham’s company almost 20 years ago.
Yoann Bourgeois’s performance piece “The Mechanics of History” at the Panthéon in Paris.
From left: Souleymane Bachir Diagne, Toyin Ojih Odutola and Cécile Fromont discuss the potential return of art to Africa at Ponty Bistro in Harlem.
Thomas Middleditch in “Silicon Valley.”
The performance artist EJ Hill at the Hammer Museum in Los Angeles. He appears at the Hammer, six days a week, standing on a podium like a gold medal winner.
Giant turd sculptures by the Viennese art collective Gelatin at the Museum Boijmans van Beuningen in Rotterdam, the Netherlands.
Rather than telling a celebrated actress’s biography straight, “Acquanetta” bills itself as a “one-act deconstruction” of the horror genre.
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