The Borghese Gallery in Rome has proposed building an adjacent facility to expand its exhibition space and increase visitor capacity beyond the current limit of 360 people per two-hour slot. The museum, which welcomed over 630,000 visitors in 2025, argues the expansion is needed to display works long held in storage. A press conference is scheduled for May 19 to provide further details.
Sylvie Retailleau, former French Minister of Higher Education and current president of Universcience since January 2026, details the tense negotiations between the Grand Palais and the Palais de la découverte. She reveals that the Palais de la découverte nearly disappeared during the Grand Palais renovation, but will reopen in March 2027. Universcience ceded a 1,200 m² gallery to the Grand Palais as a financial contribution (worth about €30 million over ten years) and is lending another 350 m² gallery until June 2030 for Centre Pompidou exhibitions during its renovation. In exchange, Universcience gains full control over the programming of the Palais des enfants.
The Phillips Collection in Washington, DC, has received a $15 million gift from the Sherman Fairchild Foundation, the largest single donation in the museum's history. The funds will be allocated primarily to the museum's endowment ($12 million) for long-term maintenance, conservation staffing, and digital systems, with additional support for the museum's satellite space Phillips@THEARC and a new annual initiative called Art-Play-Practice. The inaugural installation will reference Sam Gilliam's 1972 work 'Broad Cape.' Director Jonathan P. Binstock, who joined in 2023, has led a strategic planning process that identified infrastructure and staffing needs as critical priorities.
The article examines the financial impact of eliminating or reducing admission fees at US museums, using Baltimore's Walters Art Museum and Baltimore Museum of Art as case studies. While the Walters saw a 45% attendance increase and a tripling of minority participation after going free in 2006, the surge did not generate enough ancillary revenue from merchandise, food, or memberships to offset lost ticket income. Over time, attendance at both institutions declined—by 18.6% at the Walters and 12.7% at the BMA—according to a 2021 survey. Experts like former Met president Daniel Weiss and economist John Silvia argue that free admission often fails to meaningfully boost visitation and can strain museum finances.
Spain’s government has escalated pressure on the Museo Nacional Centro de Arte Reina Sofía, demanding a complete inventory of its 25,000-plus artworks by December 31, 2026. A parliamentary oversight committee passed a resolution backed by the conservative Popular Party and far-right, warning that failure to comply could lead to the removal of museum director Manuel Segade. The resolution calls for a full audit of holdings, including loans and missing pieces, and updated financial valuations. The museum faces years of criticism from Spain’s Court of Auditors over weak internal controls and tracking issues, including a 2021 donation that can no longer be fully accounted for.
Manuel Segade, director of the Museo Nacional Centro de Arte Reina Sofía in Spain, has been threatened with removal by lawmakers if he does not complete a full inventory of the museum’s over 25,000 artworks by December 31, 2025. The pressure comes from Spain’s Court of Auditors, which has criticized the museum’s cataloguing methods for years, and is backed by the far-right and the conservative Popular Party. Segade, appointed in 2023, has been overseeing a multi-year renovation and has increased the representation of women artists to 35%, though only 15% of the collection’s 26,000 pieces are by women. The museum recently refused to lend Picasso’s *Guernica* to the Guggenheim Bilbao, and a pro-Israel group filed a complaint over a Palestinian flag display and a seminar series.
"Was ist eigentlich das Ziel von Yad Vashem in Deutschland?"
Jens-Christian Wagner, director of the Buchenwald and Mittelbau-Dora memorials, has expressed skepticism about plans for a new branch of the Israeli Holocaust memorial Yad Vashem in Munich and Leipzig. In an interview with Bayerischer Rundfunk, he criticized the lack of transparency in the process and noted fundamental differences between Holocaust education in Germany and Israel, where the former addresses descendants of perpetrators and the latter focuses on victims' perspectives. Educator Meron Mendel also raised concerns, warning that Yad Vashem is not independent of the Israeli government and that current political tensions could influence educational content. The planned center, Yad Vashem's first overseas branch, aims to strengthen Jewish perspectives in German memory culture.
Colorado Governor Jared Polis signed Senate Bill 133 (SB26-133) into law on June 2, creating a new type of limited liability company called an Artist Company. The bill, authored by state senator Jeff Bridges and inspired by Kickstarter co-founder Yancey Strickler's TED Talk, provides artists with a legal structure that treats their work as capital contributions rather than generic assets, allowing for financial leverage such as loans. It requires 51% artistic ownership and ensures that upon dissolution, rights to artistic work revert to the artist.
Chanel has announced a new five-year partnership with the Centre Pompidou in Paris, providing a confidential financial boost to the institution during its closure for major renovations until 2030. The partnership builds on previous collaborations, including the 2023 Assemble program and a 2025 initiative to expand the museum's collection of Chinese contemporary artists by over 30% by 2028, with works already acquired from artists like Chen Wei and Cui Jie.
Chanel has renewed its financial partnership with Paris's Centre Pompidou, extending their collaboration through another five-year agreement. The luxury fashion house will continue supporting the museum's operations, acquisitions, and exhibitions, despite the Pompidou being closed until 2030 for a major renovation costing over $500 million. Chanel previously sponsored the museum's acquisition of 21 artworks by 15 contemporary Chinese artists in 2024 and supported the related exhibition “目 China: A New Generation of Artists.” The renewed investment aims to bolster access, scholarship, and preservation of public knowledge.
Members of the Wexner Center for the Arts union, Wexner Workers United, have formally demanded that Ohio State University remove Leslie Wexner's name from the art center. In a letter posted on Instagram, the union cites Wexner's documented ties to convicted sex offender Jeffrey Epstein, noting his name appears over 1,300 times in Department of Justice files. The union argues that the connection meets the university's criteria for renaming, and that staff face daily harassment while artists refuse to collaborate due to the Epstein association.
A Paris judge has rejected a bid to suspend the removal of six 19th-century stained-glass windows by Eugène Viollet-le-Duc from Notre-Dame Cathedral, clearing the way for their replacement with contemporary works commissioned by the French government. The Paris Administrative Court ruled that the project does not constitute an irreversible alteration because the new windows, designed by artist Claire Tabouret and produced by glassmakers Simon-Marq, could be removed in the future, and the original windows will be preserved. The judge did not rule on the legality of the project, which had previously been vetoed by the National Commission of Patrimony and Architecture, leaving the door open for further legal challenges.
Une décision de justice favorable aux vitraux contemporains à Notre-Dame
A French court has ruled in favor of keeping contemporary stained-glass windows installed at Notre-Dame Cathedral, rejecting a legal challenge from traditionalists who sought their removal. The decision upholds the controversial replacement of 19th-century grisaille windows designed by Eugène Viollet-le-Duc with modern works by artist Pierre Soulages and others, as part of the cathedral's post-fire restoration.
The French Senate has definitively adopted a law on the restitution of cultural property looted during the colonial period, marking a major legislative step in France's approach to colonial-era artifacts. The law establishes a legal framework for returning objects held in French public collections to their countries of origin, potentially affecting thousands of items in museums across the country.
Sylvie Retailleau explique comment elle a sauvé le Palais de la Découverte
Sylvie Retailleau, a physicist, former president of Paris-Saclay University, and former Minister of Higher Education, has been president of Universcience since January 2026. In an interview, she explains how the Palais de la Découverte, housed within the Grand Palais, nearly disappeared during the Grand Palais renovation. Intense debates over whether to dedicate the renovated space entirely to classical culture threatened the science museum. Retailleau negotiated a compromise: the Palais de la Découverte ceded one gallery (1,200 m²) to the Grand Palais for about €30 million in revenue over ten years and is lending another gallery (350 m²) until June 2030 for Centre Pompidou exhibitions. In return, Universcience gains full control of the programming for the Palais des Enfants. The Palais de la Découverte is set to reopen in March 2027.
A collective of artists and thinkers published an open letter on May 27, accompanied by an op-ed in the French newspaper Libération, calling for the termination of the partnership between the Centre Pompidou and the Hanwha group. The Centre Pompidou Hanwha is set to open later this week in Seoul. The letter denounces Hanwha's involvement in the arms industry linked to the Palestinian genocide and criticizes the partnership as an "art-washing" operation masking profits from armed conflicts. Over 100 art professionals, writers, and thinkers have signed, including Ruanne Abou-Rahme, Ali Cherri, Dominique Gonzalez-Foerster, and Ariella Aïsha Azoulay.
The Cleveland Museum of Art announced it has raised $480 million since 2023 toward a $600 million fundraising campaign, reaching 80% of its goal. The four-year campaign, the largest in the museum's history and one of the largest in the U.S. in recent decades, aims to permanently fund 21 curatorial and top administrative positions, support the museum's exhibition program, bolster art conservation, enhance the library and digital innovation, and establish a conservator of photography and a photography prize. Roughly $40 million is reserved for capital projects including refurbishment of the Fountain of the Waters and Zodiac Garden and an overhaul of Wade Lagoon. Of the total goal, $200 million will come from gifts of artworks.
The Metropolitan Museum of Art has launched a new free membership tier called "Explorer" for New York State residents who receive Supplemental Nutrition Assistance Program (SNAP) benefits. Announced on June 2, the program offers perks including free general admission for the member and one guest plus children under 18, streamlined digital entry, access to select member previews, and event invitations. Enrollment is available at the Met Fifth Avenue and the Met Cloisters. The initiative is a collaboration with the NYC Department of Cultural Affairs and the Department of Social Services, building on the museum's existing pay-what-you-wish admission for state residents and its 2024 Museums for All participation.
Le château de Compiègne poursuit sa modernisation
The Château de Compiègne, a historic French palace built for Louis XV and later frequented by Napoleon I and Napoleon III, is undergoing a major modernization program. Criticized in a 2024 report by the Cour des comptes (French Court of Auditors) for poor conservation conditions, the institution has launched a series of renovations. New period-room galleries opened in late March, displaying artworks from storage across six rooms evoking 17th- to 19th-century French taste. The restoration of the imperial library (2023–2025, €3 million) is complete, while work continues on the Louis-Philippe theater and future projects include a park facade restoration (by 2027–2028) and a complete overhaul of the Musée de la voiture, with total costs estimated at €38 million.
À quoi ressemblera le futur musée du Louvre ? Les architectes du chantier du siècle désignés
On May 18, the French Ministry of Culture announced the winner of the international competition for the 'Louvre Nouvelle Renaissance' plan, championed by President Emmanuel Macron in January 2025. The winning consortium, led by Studios Architecture Paris and Selldorf Architects with landscape firm Base, will design a major renovation of the Louvre. The project includes a new entrance on the east side near Saint-Germain-l’Auxerrois to relieve congestion at the pyramid, a belvedere overlooking vegetated moats, and a new 3,000-square-meter gallery dedicated to the Mona Lisa. Construction is not expected to begin before 2028.
Creative New Zealand (CNZ) explicitly states on its website that it does not fund fashion design, classifying it as primarily part of the commercial creative industries. The article highlights the contradiction that while major institutions like The Dowse Art Museum, Auckland Art Gallery, and World of WearableArt treat fashion as art, CNZ denies funding to fashion designers, with rare exceptions for non-commercial, cross-cultural, or collaborative projects. Fashion designer Doris de Pont, founder of The New Zealand Fashion Museum, notes that even when her trust received CNZ support, it was for the art connection, not the fashion itself.
Il Ministero della Cultura compra anche la Tomba François per 15 milioni di euro. Destinata al Museo Nazionale Etrusco di Roma
The Italian Ministry of Culture, led by Minister Alessandro Giuli, has finalized the acquisition of the Tomba François (François Tomb) from Vulci for €15 million. This Etruscan painted tomb, discovered in 1857 by archaeologist Alessandro François on the lands of Prince Alessandro Torlonia, is one of the most important surviving examples of Etruscan painting. The purchase was made possible through collaboration with the heirs of the Torlonia, Sforza Cesarini, and Gaetani families, and the tomb will be permanently housed at the Museo Nazionale Etrusco di Villa Giulia in Rome starting June 25, with a major exhibition featuring loans from the Louvre, British Museum, and other international institutions.
Giuli compra tutto! Il Ministero della Cultura vuole prendersi anche Il Teatro delle Vittorie di Roma e Palazzo Labia a Venezia?
Italian Minister of Culture Alessandro Giuli is pursuing an aggressive acquisition campaign for cultural properties. After high-profile purchases including Antonello da Messina's *Ecce Homo* and Caravaggio's *Portrait of Monsignor Maffeo Barberini* (€30 million), the Ministry has now expressed interest in acquiring Rome's Teatro delle Vittorie and Venice's Palazzo Labia—both part of a real estate portfolio being sold by state broadcaster Rai. The Ministry also recently bought Verona's historic Cinema Astra (with a €7.5 million restoration plan) and Naples' Teatro Sannazzaro after a fire.
Una nuova ala per risolvere i problemi della Galleria Borghese a Roma. Bella sfida, stucchevoli polemiche
The Galleria Borghese in Rome, one of Italy's most extraordinary museums, faces significant accessibility and capacity issues due to its historic 17th-century structure. The museum is difficult for visitors with disabilities, overcrowded, and forces visitors to book far in advance—often waiting over a month for a time slot—while many masterpieces remain in storage. In 2025, the engineering firm Proger offered to sponsor a feasibility study for a new wing, contributing nearly 900,000 euros to fund an international architecture competition and a technical-economic feasibility plan. The study, currently underway, aims to explore whether a new annex can be built within the protected Villa Borghese park to create new entrances, exhibition spaces, and services.
Gustave Courbet's painting *Le Désespéré* (1843-1845), owned by Qatar Museums Authority, was loaned to the Musée d'Orsay in Paris. The French art publication La Tribune de l'Art requested the loan agreement under transparency laws, but the museum refused, citing a confidentiality clause. The publication then appealed to the Commission d'Accès aux Documents Administratifs (CADA), which has not responded for five months. Separately, the heritage association Sites & Monuments made a similar request to the Ministry of Culture and received a negative response from CADA in March 2026, citing a Conseil d'État ruling that disclosure could harm France's foreign policy.
France's highest administrative court has rejected a legal challenge by heritage group Sites & Monuments that sought to block the loan of the 11th-century Bayeux Tapestry to the British Museum. The court ruled that President Emmanuel Macron's decision to lend the artifact is an act of government inseparable from international diplomacy, and therefore not subject to judicial review. The ruling came two days after a French Culture Ministry report expressed confidence that the fragile tapestry, designated in the UNESCO Memory of the World Register, would not be physically threatened by the move.
Rodney Mims Cook Jr., chairman of the US Commission of Fine Arts, attended the St. Petersburg International Economic Forum (SPIEF), known as the 'Russian Davos,' becoming the first US official to do so in nearly a decade. He participated in a roundtable titled 'Russia-USA: dialogue of cultures' moderated by Russian cultural envoy Mikhail Shvydkoy, who also coordinated Russia's participation in the 2024 Venice Biennale. Other attendees included actor Steven Seagal, State Hermitage Museum director Mikhail Piotrovsky, and Russian culture minister Olga Lyubimova, several of whom have been sanctioned by the EU for supporting Russia's invasion of Ukraine. Cook praised Putin and conveyed greetings from President Trump, while Ukrainian drones struck targets near St. Petersburg as the forum opened.
British Museum director Nicholas Cullinan defended the postponement of a Jewish Culture Month talk scheduled for 28 May, citing concerns over planned protests. The event, led by curator Paul Collins on the ancient kingdoms of Israel and Judah, was postponed after the museum estimated up to 50% of registered attendees were suspected protesters. Critics including historian Simon Schama called the decision wrong, but Cullinan argued the talk was not cancelled and that the museum must not abandon difficult conversations.
The UK government is exploring a proposal to charge admission fees for foreign tourists at national museums in England, sparking widespread opposition from cultural institutions. The idea was raised in a review of Arts Council England by Labour peer Margaret Hodge, who suggested digital ID checks could enable such a system, though she noted it would bring in less than £10 million and may not be worth the hassle. Museums like the Royal Armouries have condemned the plan as undermining universal access and projecting a lack of generosity, while the Cultural Policy Unit warns it would be logistically complex and ideologically problematic given the colonial origins of many collections.
À Saint-Nazaire, la fermeture du Grand Café provoque la stupeur et l’incompréhension
The Grand Café, a contemporary art center founded in 1997 in Saint-Nazaire and labeled a 'Centre d’art contemporain d’intérêt national' since 2018, will close after renovation work scheduled for 2027. The socialist municipal government led by David Samzun announced that the venue will abandon its contemporary art programming in favor of a photography-focused project run by an external operator selected through a call for proposals. The announcement, made in mid-May, has shocked the cultural sector, as the Grand Café had been a major regional player for nearly 30 years, supporting emerging and established artists through monographic exhibitions, residencies, and mediation work.