When we are grieving, is it a good idea or a bad idea to engage with art that takes grief to be its subject? Does this help us to cope, or does it rip out whatever stitches we have managed to sew in while we try to bear an unbearable loss?

Should artists make artworks that are easy to understand? Or should there be challenging artworks out there, but free education to help us understand them? What, if anything, is the value of difficult paintings, poems, and novels? This week we’re thinking about “The Arts for All.”

Think about the art you’ve enjoyed in your life: the novels, the television, the music, the poetry, the sculpture, the paintings—the list goes on. Now try to imagine a scenario in which none of this art had ever been made. What would we lose in a world like this?

Has the modern world become disenchanted? Is there a way to find the magic again? In this week's show, we're discussing Walter Benjamin, the German-Jewish cultural critic from the early 20th century, who had fascinating things to say about this.

Is it wrong to paint someone’s portrait without their consent? Portrait of a Lady on Fire presents this ethical dilemma for an eighteenth century portrait artist. The film is deep on many levels, but one of the most important is how it asks us to think about portraiture, privacy, and consent.