The Contemporary Art Destinations Gallerists and Artists Have on Their Radar

WWD asked top international gallerists, collectors, and artists to name the cities they find most exciting for contemporary art. Karen and Christian Boros recommend Naples and the Amalfi Coast, highlighting galleries like Galleria Giangiacomo Rossetti, Thomas Dane Gallery, and Lia Rumma, as well as Fondazione Morra Greco and Le Sirenuse hotel. Daniel Arsham points to Sugar Beach in St. Lucia for its large contemporary sculpture collection. Jean-Michel Othoniel champions South Korea, citing Seoul's Leeum Samsung Museum of Art, Kukje Gallery, and the Kiaf Seoul fair, plus the city of Busan. Emma Lavigne of the Pinault Collection names Venice, especially during the Biennale Arte di Venezia, as an essential destination.

We are in danger of losing our sense of community

"Wir drohen das Gespür für die Gemeinschaft zu verlieren"

Christophe Cherix, the new director of the Museum of Modern Art in New York, discusses his first months in the role, emphasizing museums as "safe social places" in an era of anxiety and screen-induced isolation. He advocates for collective vision-building with staff and defends the MoMA's independence against political pressure in Trump-era America. Separately, critic Paco Barragán argues in The Observer that biennials are in a structural crisis of repetition, tracing their history from instruments of national soft power to a "Global Neo-Liberal Biennial" system that co-opts diversity without changing its core logic. He introduces the concept of the "vibe-ennial," where discourse is replaced by atmosphere and critique by affect. Meanwhile, longtime Bonn museum director Stephan Berg critiques the boom in immersive art experiences like "Van Gogh – The Immersive Experience," calling them a "surrogate reality" tailored to the Instagram age that destroys the integrity of original works. Artforum reconstructs late-1960s debates on art criticism, focusing on Barbara Rose's challenge to formalists like Clement Greenberg and Rosalind Krauss, arguing that art must engage with societal conflicts such as Black Power and war resistance.

New Richard Avedon documentary chronicles how he shaped the evolution of photography

Imagine Documentaries, the nonfiction arm of Ron Howard and Brian Grazer's Imagine Entertainment, premiered a new documentary about photographer Richard Avedon at the Cannes Film Festival on May 17. The film, co-produced by the Richard Avedon Foundation, draws heavily from archival interviews conducted by Helen Whitney for the PBS series *American Masters*, supplemented by new interviews with Avedon's son John, muse Lauren Hutton, Isabella Rossellini, Twyla Tharp, and former *New Yorker* colleagues Tina Brown and John Lahr. The documentary explores Avedon's career, his technique of building rapport with subjects, and his iconic images such as *Dovima with Elephants*, which dealer Larry Gagosian notes sold for $2 million.

The Burlington Magazine - n°1478 vol CLXVIII - May 2026

The May 2026 issue of The Burlington Magazine (n°1478, vol. CLXVIII) presents a rich array of scholarly articles, exhibition reviews, and book reviews covering European art from the medieval period to the 20th century. Highlights include Laure Boyer's study of two photographs of Victorine Meurent linked to Manet's 'Le Déjeuner sur l'herbe' and 'Olympia', Axel Moulinier's analysis of Watteau's copies after old masters, and Richard Thomson's essay on a century of Monet in print. Exhibition reviews cover shows on Monet's Étretat coast, Orazio Gentileschi, Cornelius Jonson van Ceulen, Gainsborough, Seurat, Italian Symbolism, and Iliazd. Book reviews range from medieval art and Pietro Bellotti to Helene Schjerfbeck, Roberto Matta, and contemporary jewelry at the Dallas Museum of Art.

The Whelm of Massive Group Shows, and My Tender Eyes

The article reflects on the overwhelming experience of massive group exhibitions, using examples like Lawndale's "The Big Show" (77 artists in 2025), "Hecho en Dallas" (66 artists), and the School of the Art Institute of Chicago's 1999 MFA thesis show (around 150 artists). The author, a gallerist, recounts visiting two recent San Antonio shows—"A Postmodernist Says ¿Que?" at Centro de Artes and "Fan of a Fan 3" at C7 Space—which feature dozens of works hung salon-style, forcing viewers to make choices about where to focus attention.

Why We Need Corporate Art Collections

The article traces the history and significance of corporate art collections, beginning with Deutsche Bank's acquisition of 57 early drawings by Joseph Beuys in the late 1970s, which led to the formal launch of its collection in 1980. Today, the Deutsche Bank Collection comprises over 57,000 objects displayed in 500 locations across 40 countries, and the bank sponsors events like the Frieze Art Fair. The piece also highlights the role of American banker David Rockefeller, who inaugurated Chase Manhattan Bank's Art at Work program in 1959, and notes that corporate collecting has deep roots in Renaissance banking, with institutions like Banca Monte dei Paschi di Siena commissioning art for their offices.

Why the art market should finally be on LinkedIn

Warum der Kunstmarkt endlich auf LinkedIn sollte

The article argues that the art market's heavy reliance on Instagram for communication and sales is misguided, suggesting that LinkedIn offers far greater potential for business-to-business transactions and professional networking. It critiques the art world's preference for Instagram's visual focus, noting that LinkedIn's professional environment and targeting capabilities are better suited for discreet, high-value art sales.

Interview with French cartoonist Hugo Didier who draws the Cannes Film Festival 79

Intervista al fumettista francese Hugo Didier che disegna il Festival di Cannes 79

French cartoonist and illustrator Hugo Didier (Paris, 1993) has been commissioned to reinterpret and narrate the 79th edition of the Cannes Film Festival (May 12–23) through his drawings, which have appeared on the festival's official Instagram account. In an interview, Didier discusses how cinema influences his visual imagination, his preference for traditional drawing techniques (nib pens, Rotring technical pen, ink washes, watercolor) over digital, and his creative process that often begins with spontaneous sketches. He also reflects on the role of comics in contemporary French culture, noting their ability to explore diverse themes and reach wide audiences through a playful yet accessible medium.