A major retrospective of Turner Prize-winning artist Veronica Ryan has opened, showcasing her career-long exploration of organic forms and repurposed materials. The exhibition features new works made from plastic bottles, bandages, and avocado trays, alongside earlier sculptures in bronze and lead that reference seed pods and fruit.
Was man in Venedig unbedingt vermeiden sollte
The article humorously critiques the Venice Biennale, highlighting several disappointments. It describes a Japanese pavilion installation by Ei Arakawa-Nash featuring baby dolls for diaper-changing, which a critic dismisses as a male artist over-romanticizing parenthood. Other flops include long queues for the German and Austrian pavilions, underwhelming main exhibition "In Minor Keys," and annoying self-promotional performers outside venues. The piece also laments the presence of loud American collectors and donors who dominate the event.
Große Krise, kleine Gesten
The article reviews the second edition of the Klima Biennale Wien, which opened in early April in Vienna. It notes that while the biennale aims to address the urgent triple crisis of climate change, biodiversity loss, and pollution, its execution falls short. The exhibition features symbolic works such as a beached whale, a broken boat, and a compostable SUV sculpture, but these motifs feel repetitive and lack the necessary impact. The author contrasts these with historical precedents like Menashe Kadishman's 1978 Venice Biennale installation and Joseph Beuys' "7000 Eichen" (1982), arguing that the themes of nature and sustainability are not new, only the urgency has intensified.
The 61st Venice Biennale, titled "In Minor Keys" and curated by the late Swiss-Cameroonian curator Koyo Kouoh, opened in 2026. The main exhibition at the Arsenale and Giardini features works by artists such as Éric Baudelaire, Maria Magdalena Campos Pons, Mohammed Z. Rahman, Sohrab Hura, and Rose Salane, among others. The exhibition centers on themes of mourning, colonial history, slavery, and healing, with works like Baudelaire's video installation linking the flower trade to the transatlantic slave trade, and a tribute section honoring artists Beverly Buchanan and Issa Samb.
The 15th Shanghai Biennale, titled 'Code Switching,' has opened at the Power Station of Art (PSA). The exhibition, centered on the theme of what hears and what can be heard, features immersive installations like Allora & Calzadilla's floating yellow synthetic flowers in the atrium, which create a striking yet artificial environment that visitors eagerly photograph. The experience is framed by promotional gestures, such as free manuka honey samples, blurring lines between art, commerce, and audience participation.
Cultured's art critic reflects on the best and worst of 2025, highlighting standout moments including Salman Toor's 2007 portrait of Zohran Mamdani (now mayor-elect of New York), the posthumous Jack Whitten survey "The Messenger" at MoMA, and Anne Imhof's epic production "DOOM: House of Hope" at the Park Avenue Armory. The article also notes Mamdani's arts-friendly transition committee and the broader resilience of artists amid political turmoil.
Cultured magazine's critics roundup highlights several notable New York art exhibitions. Cameron Rowland's "Properties" at Dia Beacon is examined as a landmark Land art installation that uses contractual relations to address racial capitalism, with works available only for rent or loan. Other shows include Feliciano Centurión's "Sol naciente" at Ortuzar, Joshua Caleb Weibley's "Game Transfer Phenomena" at Chart, Ian Miyamura's debut at Bureau, and Laura Owens's new show at Matthew Marks Gallery, each reviewed for their conceptual and aesthetic innovations.
P. Staff's current exhibition at David Zwirner in New York transforms the gallery's Upper East Side townhouse into a haunting, body-centric experience. The show features a new video titled *Penetration* (2025), split across three floors, depicting a person with a laser beamed at their bare stomach, alongside sculptures with wood spikes under latex drapes and ambient sounds of a beating heart. The installation evokes a dread of having a body, with jaundiced yellow window films and disjointed sensory elements creating an uncomfortable, dysphoric atmosphere.
Can a Play Capture an Artist as Enigmatic as Henry Darger?
A new play, *Bughouse*, is attempting to portray the life of reclusive artist Henry Darger on stage at New York's Vineyard Theater. The one-man show, starring John Kelly, draws from Darger's own lengthy autobiography to depict his traumatic childhood, institutionalization, and decades of solitary life in Chicago, where he secretly created his vast, fantastical artwork and writings.
The group exhibition "Desperate, Scared, But Social" at the UC Irvine Langson Orange County Museum of Art (Langson IMCA) explores the complexities of contemporary social dynamics and collective anxiety. The show brings together diverse artistic perspectives to examine how individuals navigate a landscape defined by political instability, environmental concerns, and the pervasive influence of digital connectivity.
Artist Alex Heilbron presents a solo exhibition at the Los Angeles gallery as-is. The show is featured as a lead review in the February 2026 issue of Contemporary Art Review LA, highlighting Heilbron's continued exploration of painting and visual language within the Southern California art scene.
The article is a table of contents for Issue 42 of Contemporary Art Review LA, which includes a review of an exhibition by artist Devin Troy Strother at ArtCenter. The review, written by Janelle Zara, is listed among other reviews, interviews, and features in the publication's November 2025 issue.
Julio Le Parc's retrospective at Tate Modern immerses visitors in the playful, politically charged atmosphere of 1960s Paris. The exhibition features interactive works from Le Parc and his collective GRAV (Groupe de Recherche d'Art Visuel), including spinning discs, mirrored screens, and button-activated kinetic sculptures that invite physical engagement. Le Parc, who died in May 2025 at age 97, sought to subvert the silence and deadness of traditional museums by filling them with noise, action, and democratic play.
The National Portrait Gallery in London has opened a new blockbuster exhibition, "Marilyn Monroe: A Portrait," marking what would have been the star's 100th birthday. The show presents Monroe through photographs, paintings, and film excerpts, tracing her transformation from Norma Jeane Baker into a global icon. It features works by renowned photographers such as Richard Avedon, Milton Greene, Cecil Beaton, Eve Arnold, Philippe Halsman, Weegee, and André de Dienes, as well as paintings by Pauline Boty and Andy Warhol. The exhibition emphasizes Monroe's agency and control over her own image, challenging the notion of uncovering a "real Marilyn" behind the glamour.
Hulda Guzmán's first institutional exhibition in Europe, "Please Awake – Asked Nature Kindly," is on view at Turner Contemporary in Margate, UK. The show features the Dominican artist's ultra-colorful, psychedelic jungle paintings that blend art historical references—from Japanese ukiyo-e prints to pointillism and symbolism—with personal mythology, demons, spirits, and lush tropical landscapes. The works are drawn from her life in the Dominican rainforest, where she lives and works in a studio built by her architect father.
The Stedelijk Museum and Kunstmuseum St. Gallen have co-organized an exhibition titled "Beyond the Manosphere: Masculinities Today," which aims to critically examine contemporary masculinity and its online manifestations such as incels, looksmaxxing, and pickup artists. The show features works by artists including Reba Maybury and Richard Serra, and is curated by Melanie Bühler, with directors Rein Wolfs and Gianni Jetzer overseeing the project. The exhibition will travel from the Stedelijk to the Kunstmuseum St. Gallen later this year.
The Metropolitan Museum of Art's Costume Institute spring exhibition, "Costume Art," pairs fashion with artworks from the Met's collection, including ancient Greek statues and Andy Warhol screenprints, alongside garments by designers from Charles James to CFGNY. Curator Andrew Bolton aims to suggest that fashion can expand understanding of art, but the show's juxtapositions often feel vague and sloppy, with only occasional resonant pairings like a Jean Paul Gaultier shirt and Joe Brainard drawing linked by queer artist lineage.
The Guardian reviews a major exhibition of 17th-century Spanish painter Francisco de Zurbarán, highlighting his visionary and surrealist qualities. The show features works such as "The Apparition of Saint Peter to Saint Peter Nolasco" (1629), newly attributed paintings including a giant mask, and iconic pieces like "The Crucified Christ" and "Saint Serapion," all drawn from collections including the Prado and the National Gallery, London. The review emphasizes Zurbarán's ability to paint supernatural subjects with naturalistic conviction, his exquisite rendering of fabrics—especially loincloths—and his influence on modern artists like Salvador Dalí.
A new biography of Chaïm Soutine, the early 20th-century painter, has been published. The book, written by Celeste Marcus, attempts to piece together the life of the notoriously private and illusive artist, examining his journey from a Belarusian shtetl to the studios of Montparnasse, his complex relationships, and the myths that have grown around his work and persona.
This article explores a critical reevaluation of Alberto Giacometti’s career, specifically focusing on the decade between 1935 and 1945. While Giacometti is globally recognized for his spindly, post-war 'Existentialist' figures, art historian Joanna Fiduccia’s new book, *Figures of Crisis*, argues that his mid-career departure from Surrealism to study human likeness was not a mere transition but a profound response to the political crises and nationalism of interwar France.
The Museum of Modern Art has launched a major retrospective of Marcel Duchamp, co-organized with the Philadelphia Museum of Art. The exhibition tracks the artist's evolution from his early Cubist experiments and the scandal of 'Nude Descending a Staircase' to his radical invention of the readymade, exemplified by the infamous urinal, 'Fountain'. The show presents a comprehensive look at 'The Duch' through a reverential, church-like atmosphere, concluding with his later years as a dapper, enigmatic figure of the avant-garde.
ARTnews previews eight notable art and culture books scheduled for release in April 2026. The list includes Ben Lerner's novel "Transcription," a dual biography of artists Peter Hujar and Paul Thek by Andrew Durbin, Luke Goebel's art-world satire "Kill Dick," and an academic study of Alberto Giacometti's 1930s work by Joanna Fiduccia. Also featured are a memoir by curator Hans Ulrich Obrist, a book on Dorothea Tanning, and Julia Langbein's unconventional book about Monica Lewinsky.
Joseph Beuys remains one of the most polarizing figures in 20th-century art, a former Nazi soldier who reinvented himself as a shamanic healer and a founding member of the Green Party. A new monographic study by art historian Daniel Spaulding, 'Joseph Beuys and History', re-evaluates the artist's legacy by confronting his refusal to apologize for his wartime past and his use of ambiguous materials like fat and felt. Spaulding argues that Beuys’s work should be read through the lens of 'bad faith,' where his utopian slogans masked a deep, unresolved engagement with the horrors of the Holocaust.
The Solomon R. Guggenheim Museum has launched a major retrospective of Carol Bove, filling the iconic Frank Lloyd Wright rotunda with approximately 100 works spanning her career. The exhibition showcases Bove’s evolution from her early assemblages of driftwood, peacock feathers, and vintage books to her more recent large-scale, brightly colored steel sculptures. A defining feature of the show is Bove’s inclusion of "para-artworks"—pieces by other artists such as Lionel Ziprin, Agnes Martin, and Arnaldo Pomodoro—integrated into her own installations to highlight the influences and histories that inform her practice.
A wave of paintings by women depicting women dominated New York galleries this fall, sparking a critical examination of contemporary feminist figuration. Artists like Emily Coan and Anna Weyant create images of idealized, often sexualized femininity, framing their work as a reclamation of beauty and personal expression.
Artnet News critic Christian Viveros-Fauné has published a personal list of the ten best works of art in New York museums, sparking debate among readers. The selection includes iconic pieces such as Giovanni Bellini's *St. Francis in the Desert* at the Frick Collection, Gerhard Richter's *October 18, 1977* at MoMA, Paul Cézanne's *The Card Players* at the Metropolitan Museum of Art, James Rosenquist's *F-111* at MoMA, Diego Velázquez's *Juan de Pareja* at the Met, and Pablo Picasso's *Les Demoiselles d'Avignon* at MoMA, among others.
Jeff Koons's latest exhibition at Gagosian Gallery in New York features his new series of large-scale porcelain and stainless-steel sculptures, including the centerpiece *Aphrodite* (2016–21), an eight-and-a-half-foot-tall nude. The show marks Koons's first solo presentation in New York in seven years and follows a turbulent period in his career, including record auction sales, a move to Pace Gallery and back to Gagosian, and two lawsuits. Critic Christopher Garcia Valle panned the works as unstimulating and banal, arguing they fail to awe viewers despite their technical ambition and massive scale.
A group of British artists, frustrated by the Great Depression and inspired by socialist ideologies, founded the Artists International Association (AIA) in the early 1930s. Initially a Communist-inflected agit-prop group, it rebranded in 1935 to broaden its anti-fascist coalition, a move that sparked internal debates about ideological purity. The article, reviewing Andy Friend's book *Comrades in Art: Artists Against Fascism, 1933–1943*, highlights key episodes such as the AIA's 1940 exhibition 'The Face of Britain,' which opened amid the Blitz after bombs damaged the gallery.
The article reviews Stephen Shore's book *Early Work*, which collects photographs he took between the ages of 13 and 18, from 1960 to 1965. Despite his youth, the images display remarkable sophistication, a feat Shore attributes to an atypical childhood that included early access to cameras and a copy of Walker Evans's *American Photographs*. The book includes a "pre-history" essay in which Shore reflects on his formative influences, including time spent at Andy Warhol's Factory and a friendship with headmaster William Dexter, who deepened his interest in photography. The earliest image in the book is a portrait of Dexter taking a photograph, which Shore describes as a metanarrative of a photographer photographing a photographer.
Alex Da Corte's mid-career survey, "The Whale," is on view at the Modern Art Museum of Fort Worth, featuring works that repurpose pop-cultural icons like Disney villains and Mariah Carey to explore themes of erasure and violence. The exhibition includes pieces such as *A Time to Kill* (2016), which obliquely references the 2016 Pulse nightclub shooting through an inverted Elsa standee, and *The Great Pretender* (2021), which removes Lily Tomlin from a TIME magazine cover to comment on queer erasure.