here are 6 of the worst art works we saw all year

Artnet News published a year-end roundup of the worst artworks of 2023, as selected by its writers and editors. The list includes Meta's AI-art chatbot experiments on Instagram, which cloned celebrity likenesses into cringe-worthy avatars like Snoop Dogg's 'The Dungeon Master' and Kendall Jenner's 'Billie,' alongside Refik Anadol's 'Unsupervised' at MoMA, criticized as shallow tech spectacle. Other entries include a poorly received Picasso-themed exhibition and additional works deemed ill-conceived or badly executed.

robert longo pace gallery review

Artist Robert Longo presents a new exhibition at Pace Gallery, featuring his signature large-scale, hyperrealistic drawings that address themes of brutality, conflict, and protest. The show is a revised version of a 2023 exhibition at the Milwaukee Art Museum, with works based on media images of events such as the war in Ukraine, Black Lives Matter protests, and migrant crises. The article critically examines several pieces, including "Untitled (Ferguson Police, August 13, 2014)" and "Untitled (Refugees at Mediterranean Sea, Sub-Saharan Migrants, July 25, 2017)," arguing that Longo's manipulations of source photographs result in melodramatic and dishonest representations.

michael armitage david zwirner new york gallery review

Michael Armitage's solo exhibition "Crucible" at David Zwirner's new Annabelle Selldorf-designed gallery in New York features paintings centered on migration, including the work *Path* (2024), inspired by a 2015 Vice News story about an Eritrean teenager's harrowing journey to Europe. The show also includes *Raft (ii)* (2024), a blurry homage to Théodore Géricault's *Raft of the Medusa*, and new sculptures that resemble wood carvings. The gallery itself, a single-story 18,000-square-foot space, opened after a larger planned venue fell through due to financial headwinds during Covid.

adrien brody art eden gallery

Actor Adrien Brody debuted a new exhibition titled "Made in America" at Eden Gallery in New York, featuring paintings that incorporate pop culture icons like Mickey Mouse, Donald Duck, and Marilyn Monroe alongside collage elements and text. The show has garnered significant media attention, including a profile in the New York Times and praise from Cultured and Interview magazine, partly fueled by the sale of one of Brody's paintings for $425,000 at the amfAR Cannes Gala. However, the art press, including Artnet News, has been highly critical, with ARTnews reviewer Alex Greenberger describing the works as ugly, derivative, and lacking nuance.

Notes from New York: The World in a Convex Mirror

The article reviews the sixth edition of MoMA PS1's quinquennial survey 'Greater New York 2026,' which coincides with the institution's 50th anniversary. It highlights works by artists such as Covey Gong, Win McCarthy, Mekko Harjo, and Sophie Friedman-Pappas, noting how the exhibition's themeless structure and use of reflective surfaces create a hall of distorted reflections. The show includes 53 emerging and midcareer artists, mostly millennials, and is accompanied by a block party and gala rather than a dedicated commemorative exhibition like FORTY (2016).

worst artworks we saw around the world in 2022

Artnet News editors compiled a list of the worst artworks they encountered in 2022, including a chaotic performance by Poncili Creación at NADA Miami, an overproduced Danish Pavilion installation by Uffe Isolotto at the Venice Biennale, and a Paul Cézanne painting at the Barnes Foundation that disappointed a critic. The article offers subjective, critical takes on these works, describing the NADA performance as bizarre and jolting, the Danish pavilion as graphic and lacking a powerful message, and the Cézanne as a disappointment within an otherwise memorable museum visit.

What ‘Costume Art’ Gets Wrong About the Body

The Metropolitan Museum of Art's Costume Institute spring exhibition, featuring nearly 400 objects, pairs garments and ensembles with Western figurative artworks from the museum's permanent collection in dyadic, associative displays. The show eschews traditional art-historical timelines and context in favor of visual and thematic parallels—comparing, for example, Rudi Gernreich's Pubikini with an Egyptian statuette, or Ying Gao's sound-responsive dress with a David Hockney drawing. The exhibition is sponsored by Jeff and Lauren Sánchez Bezos.

10 Art Books for Your Spring Reading List

Hyperallergic has published a curated list of ten art books recommended for spring reading. The selection emphasizes historical retellings through an artistic lens, featuring works such as a memoir by activist-artist Susan Simensky Bietila, a chronicle of the Jewish Bund by Molly Crabapple, and the first major catalog on artist Theresa Hak Kyung Cha in 25 years. The list also includes exhibition catalogs like "Chicano Camera Culture" and a monograph on painter Ewa Juszkiewicz.

kevin mcgarry reviews jason faragos even

Kevin McGarry reviews the debut issue of *Even*, a new print art journal launched by *Guardian* contributor Jason Farago during Frieze New York. Named after a phrase from Marcel Duchamp's *The Bride Stripped Bare By Her Bachelors, Even*, the magazine is a small, paperback-sized publication that prioritizes text over images, positioning itself as an antidote to market-driven art discourse. The first issue features a lengthy essay on artist Joan Jonas by Elisabeth Lebovici, timed to Jonas's U.S. pavilion at the 56th Venice Biennale, and a piece by Zachary Woolfe on the Björk exhibition at MoMA. McGarry critiques the journal's ambition to revitalize art criticism, noting that while its goals are lofty, the content sometimes falls back on familiar artspeak.

What You Should Definitely Avoid in Venice

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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.

Desperate, Scared, But Social at UC Irvine Langson Orange County Museum of Art

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.

Are We Too Reverent of Marcel Duchamp?

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.

Alex Heilbron at as-is

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.

Devin Troy Strother at ArtCenter

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.

Raphael Met Museum Retrospective Review

raphael met museum retrospective review

The Metropolitan Museum of Art has launched "Raphael: Sublime Poetry," the first major retrospective of the Renaissance master ever staged in the United States. Curated by Carmen C. Bambach, the exhibition features 237 works, including rare loans of drawings and monumental tapestries that have not left Madrid since the 16th century. While some of his most famous paintings remain in Europe, the show provides an exhaustive look at the artist's development from a teenage prodigy to a papal favorite.

What does a woman swimming in urine tell us about the state of the world? Lots! – Venice Biennale review

The 2026 Venice Biennale, curated by the late Koyo Kouoh under the theme "In Minor Keys," has been plagued by months of turmoil including countries withdrawing, artists being fired, exhibitions cancelled, funding pulled, and protests during the preview. A five-person curatorial team took over after Kouoh's death, resulting in what the critic describes as a disjointed, committee-driven exhibition that prioritizes quiet contemplation and healing over direct political engagement. The central shows in the Giardini and Arsenale feature a vast, poorly explained array of art from the global south, with installations of ceramics, textiles, slide projectors, and serene natural scenes that the critic finds anachronistic and dull.

Michael Armitage in Venice, monumental and disturbing. What the exhibition at Palazzo Grassi looks like

Michael Armitage is the subject of a major solo retrospective at Palazzo Grassi in Venice, marking his largest exhibition in Europe to date. Organized by the Pinault Collection, the show features monumental paintings that blend African identity, local Kenyan chronicles, and mythological narratives. Armitage’s work is noted for its physical scale and its ability to transform the chaos of human affairs into a syncretic epic, utilizing traditional materials like Lubugo bark cloth to ground his contemporary subjects.

art guide new york exhibitions

The article reviews the joint exhibition "Hunks" at Bureau gallery in New York, featuring works by painter Julia Rommel and photographer Lucas Blalock. Rommel's post-minimalist abstract paintings, created through folding and stapling canvases, explore color and texture with a personal touch, while Blalock's digitally manipulated photographs blend studio effects and surreal editing. The show runs through February 21, 2026, at the gallery's 112 Duane Street location.

art best and worst art of 2025 list

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.

art los angeles fall openings review

The article is a review of fall art openings in Los Angeles, written by Juliana Halpert for her Critics’ Table debut. Halpert surveys a range of exhibitions, including Calvin Marcus's show at Karma, Stanya Kahn's solo presentation, the Hammer Museum's "Made in L.A." biennial and its scrappier counterpart "Made in HelLA," Josh Smith's grim reaper paintings at David Zwirner, and Adam Alessi's show at Hoffman Donahue. She also recounts attending the Poetic Research Bureau's 25th anniversary party and fundraiser at 2220 Arts + Archives, where musician Jack Skelley performed. The review weaves a thematic thread of mortality and the macabre, noting how many shows this season engage with death, from fake blood and skulls to sinister landscapes.

critics picks in manhattan and brooklyn bridge park june

Zoë Hopkins reviews Torkwase Dyson's Public Art Fund commission 'Akua' at Brooklyn Bridge Park, a sculptural pavilion that immerses visitors in water sounds and voices of Black writers like Christina Sharpe and Dionne Brand. Paige K. Bradley covers the first-ever solo exhibition of late poet N.H. Pritchard at Peter Freeman, Inc., featuring his concrete visual poems from the Black Arts Movement. Johanna Fateman highlights the work of identical twin artists Jane and Louise Wilson.

Fantastic visions and cosmic rhythms: how Whistler is making me see – and hear – differently

The article explores how the James McNeill Whistler exhibition at Tate in London prompts a reconsideration of the relationship between music and visual art. Whistler titled his works using musical terms like "Arrangement," "Symphony," and "Nocturne," arguing that painting should be abstract and independent of narrative, much like instrumental music. The exhibition, reviewed by Jonathan Jones, highlights Whistler's radical art-for-art's-sake philosophy, which influenced composer Claude Debussy, whose orchestral Nocturnes were directly inspired by Whistler's paintings of light and atmosphere.

Winston Churchill: The Painter review – We will daub them on the beaches

The Guardian reviews "Winston Churchill: The Painter," an exhibition of nearly 60 paintings by the former British prime minister, curated by Xavier Bray and Lucy Davis. The show assembles works from across the UK and private collections, depicting scenes from Churchill's travels, stately homes, and leisure moments, painted as an amateur Sunday painter for stress relief rather than artistic acclaim. The review notes Churchill's use of techniques borrowed from Walter Sickert, including projectors and monochrome underlayers, and describes his style as charmingly amateurish with a vivacity in seascapes but weakness in figures and architectural luminosity.

The Met’s Costume Institute Needs an Art History Lesson

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.

8 Books We’re Looking Forward to in April

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.

The Tensions Seething Beneath the Surface of the 2026 Whitney Biennial

The 2026 Whitney Biennial has quickly generated a consensus among critics, prompting a deeper analysis of its underlying themes. The exhibition features a notable tension between works exploring artificial intelligence, such as Zach Blas's maximalist installation and Cooper Jacoby's emotionally resonant sculptures, and a contrasting trend of delicate, nostalgic art focused on domesticity and ecology, exemplified by artists like Kelly Akashi and Jasmin Sian.

critical reduction the 2014 whitney biennial 5409

The 2014 Whitney Biennial has debuted with a controversial three-curator structure, tasking Michelle Grabner, Stuart Comer, and Anthony Elms with organizing separate floors of the museum. This meta-review aggregates the initial critical reception from major publications, noting that the fragmented format has forced critics to evaluate the exhibition as three distinct shows rather than a unified vision.

hot girl feminism chloe wise ambera wellmann sasha gordon

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.

stephen shore early work mack

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.

sam gilliam sculpture textile fiber dublin ireland imma

The article reviews an exhibition of Sam Gilliam's work at the Irish Museum of Modern Art (IMMA) in Dublin, focusing on 23 works from the 1990s that highlight his use of sewing and stitching. Gilliam, a relentless experimenter who died in 2022, is known for moving from hard-edged stripe paintings to draped, unstretched canvases that blurred painting and sculpture. This show reveals a lesser-known aspect of his practice: patchwork-like assemblages of painted and printed canvas pieces held together by visible machine stitching, often incorporating photographic imagery of botanical forms. The works originated from a 1993 residency in Ballinglen, County Mayo, where Gilliam shipped pre-painted canvases from Washington, D.C., and had a seamstress sew them together.