Mark Guiducci

“It ended up working in this meta way,” says the 29-year-old playwright. Photographed by Robert Nethery.

Editor-in-Chief Mark Guiducci introduces GARAGE Issue 16, featuring Billie Eilish by Takashi Murakami, as well as John Galliano, Whoopi Goldberg, and Kerby Jean-Raymond of Pyer Moss.

Takashi Murakami’s 2012 “Split” is a brilliant anomaly for an artist who otherwise says, “I’m utterly vulgar.”

Joan Didion didn't specify the color of the clothes on her packing list, but I'd wager they were monochrome.

Was the most democratic art world moment of 2018 also its “most extra”?

In a conversation with screenwriter David Kajganich and choreographer Damien Jalet, the ‘Suspiria’ director discusses bringing new terror to the scariest dance movie ever made.

Sachs issued Swiss passports in his latest installation during Frieze London.

According to the artist, “The Black Image Corporation” at the Fondazione Prada is “not black aspirational; it’s black truth.”

Editor-in-Chief Mark Guiducci on meeting cover photographer Deana Lawson for the first time.

This morning in Paris, Murakami described meeting Abloh’s parents, and Abloh talked about the effect of Louis Vuitton on his collaboration with Murakami. It was a love fest.

With contributions from Hedi Slimane, Virgil Abloh, and Inez & Vinoodh, the fourteenth issue of GARAGE celebrates New York City while exploring alternative ideas of Americana.

The five-time Oscar nominated actor also recreates Warhol's famous Polaroids of Liza Minelli, Dolly Parton, and Debbie Harry. Photographed by Inez & Vinoodh. Styled by Mel Ottenberg.