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).

The Big Review | Venice Biennale 2026: In Minor Keys ★★★½

The Venice Biennale 2026, titled "In Minor Keys," was curated posthumously following the death of artistic director Koyo Kouoh in May 2025. A team of five curators and advisors—Gabe Beckhurst Feijoo, Marie Hélène Pereira, Rasha Salti, Siddhartha Mitter, and Rory Tsapayi—executed her vision across the Giardini and Arsenale venues. The exhibition features 110 artists, with a strong emphasis on new commissions, and is structured around themes of procession, resistance, and joy. Key works include Big Chief Demond Melancon's "Amistad Takeover" (2026), Nick Cave's "Amalgam (Origin)" (2025), and Otobong Nkanga's rewilded columns at the Central Pavilion.

What You Should Definitely Avoid in Venice

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.

The 2026 Venice Biennale Is Quintessential Biennial Art

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.

Todd Gray Reframes Black Diasporic History

Todd Gray's exhibition "Portals" at Perrotin in Los Angeles features multi-paneled photo assemblages that juxtapose images of slavery with European art, architecture, and formal gardens, exploring the evolution of Black history and identity. The show coincides with the opening of his commissioned installation "Octavia's Gaze" (2025) at the new David Geffen Galleries of the Los Angeles County Museum of Art. Gray's works incorporate his own photographs alongside sources like Hubble Space Telescope imagery, creating layered visual puzzles that invite viewers to find connections and ask questions about African diasporic identity.

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.

The Big Review | Lacma's David Geffen Galleries ★★★★

The Swiss architect Peter Zumthor's new $724 million building for the Los Angeles County Museum of Art (Lacma), now called the David Geffen Galleries, has opened after nearly two decades of anticipation. The swooping concrete-and-glass structure is praised for its harnessing of natural light and horizontality, creating a stunning showcase for antiquities and inviting the city inside with floor-to-ceiling windows offering views of the La Brea Tar Pits and Wilshire Boulevard. The building performs best with sculpture and decorative objects, with standout works including Liz Glynn's "The Futility of Conquest" (2023) and Manjunath Kamath's "Vikatonarva" (2024).

Zurbarán review – ecstatic visions, primitive surrealism … and the finest loincloths ever painted

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.

Handpicked review – delightful dancing dahlias and petals so pillowy you can feel them

The Guardian reviews "Handpicked," an exhibition at Kettle's Yard in Cambridge that brings together over 40 artists from the 20th century to the present, all sharing a floral passion. The show features works by Rory McEwen, Vanessa Bell, Cedric Morris, Christopher Wood, Tirzah Garwood, Celia Paul, Gluck, and Caroline Walker, among others, displayed on white and leaf-green walls inspired by the fresh flowers and floral paintings in the neighboring house. The review highlights specific pieces, such as McEwen's exquisite tulip watercolor and Garwood's poignant painting from the last year of her life, noting the technical variety and emotional depth across the exhibition.

Alma Allen’s US Pavilion Is One of the Emptiest Shows at the Venice Biennale

Alma Allen represents the United States at the 2026 Venice Biennale with a subdued, apolitical exhibition inside the US Pavilion. The show features roughly 25 sculptures—mostly in bronze, wood, and stone—many titled "Not Yet Titled," and deliberately avoids overt political messaging. This marks a stark departure from the previous two US pavilions, curated by Simone Leigh (2022) and Jeffrey Gibson (2024), which directly confronted colonialism and empire. The Trump administration’s call for proposals explicitly asked for work that "reflects and promotes American values," and Allen’s presentation has been criticized as safe, unremarkable, and lacking the incisive edge of contemporary American art.

Salon review – like getting to know fascinating guests at a fabulous party

The article reviews a salon-style exhibition curated by Matthew Higgs, director of New York's White Columns gallery, at an unnamed gallery space. The show features 43 paintings by a diverse group of artists including Denzil Forrester, Andrew Cranston, Kaye Donachie, Merlin James, Margot Bergman, Gillian Carnegie, Bill Lynch, and Adam Keay, arranged around mismatched chairs facing white windows painted on the walls. The reviewer describes moving through the space, engaging with individual works, and highlights the eclectic, unthemed curation that prioritizes personal taste and conversation over academic or political messaging.

Review: The Good, The Bad and The Venice Biennale

The article reviews the 2024 Venice Biennale, focusing on controversies over Russia's and Israel's participation. Protests erupted during opening week, leading the EU to cut funding and the International Jury to resign. As a result, awards like the Golden Lion and Silver Lion will be decided by public vote, with many pavilions and artists withdrawing in protest. The main exhibition, curated under the theme 'Minor Keys,' features standout works by Alfredo Jaar and Carrie Schneider, alongside national pavilions like Austria's provocative entry by Florentina Holzinger.

The National Gallery of Art’s Dear America Needs a Postscript

The National Gallery of Art in Washington, D.C. has opened "Dear America," an exhibition organized around the themes of "Land," "Community," and "Freedom" that attempts to survey the entire history of the United States through its collection. The show features works by artists including Mitch Epstein, Victoria Sambunaris, Sedrick E. Huckaby, and Nancy Andrews, with sections on the American landscape, industrialization, and diverse communities. However, the review notes that the exhibition feels overly literal, with American flags prominently featured and a sense of ticking off boxes rather than offering a challenging or intellectually rigorous presentation.

The Carnegie International Looks Back at Itself

The 58th Carnegie International at the Carnegie Museum of Art in Pittsburgh looks back at its own 130-year history, featuring a gallery dedicated to past iterations. The exhibition includes Chris Ofili's "The Adoration of Captain Shit and the Legend of the Black Stars" (1998), which was originally shown in the 53rd International in 1999, the same year Ofili's more notorious "The Holy Virgin Mary" sparked controversy at the Brooklyn Museum. The article reviews how the current iteration captures the excitement of earlier exhibitions while providing commentary on authoritarianism and militarism.

Is This What “Made in America” Looks Like?

Christopher Payne's exhibition "Made in America: The Industrial Photography of Christopher Payne" at the Cooper Hewitt, Smithsonian Design Museum showcases 72 large-format photographs documenting active American factories and manufacturing processes. The trained architect turned photographer spent a decade visiting dozens of production sites across the United States, from the New York Times printing plant in Queens to the Bollman Hat Company in Pennsylvania, capturing workers' craftsmanship and the intricate steps involved in making everything from Peeps candies to jet engines. The exhibition is organized into three sections—traditional handcraft, large-scale production, and cutting-edge technologies—and coincides with the Smithsonian's celebration of the nation's 250th anniversary.

The Enigma of Alison Knowles

Lauren Moya Ford reviews the only book dedicated to Fluxus artist Alison Knowles, who died six months ago. The book, "Performing Chance: The Art of Alison Knowles In/Out of Fluxus" by Nicole L. Woods (2026), attempts to illuminate Knowles's life and work, but Ford notes that much of her personal life remains mysterious despite the author's efforts. The article is part of a broader books newsletter that also features new tomes on Hans Holbein’s portraits, Jan Staller’s photographs of Manhattan construction sites, and a discussion of a Black Panther family album at the Studio Museum in Harlem.

I’ve Got the Post-Duchamp Blues

The article is a review of the Marcel Duchamp retrospective at the Museum of Modern Art (MoMA) in New York, the first such show since 1973. Featuring around 300 works from Duchamp's six-decade career, the exhibition includes his iconic readymades like "Fountain" (1917) and early paintings such as "Nude Descending a Staircase, No. 2" (1912). Co-curated by MoMA's Ann Temkin and Michelle Kuo along with Matthew Affron of the Philadelphia Museum of Art, the show runs through August 22, 2026, before traveling to Philadelphia.

Édouard Glissant’s Museum-as-Archipelago

The article reviews the exhibition "The Earth, the Fire, the Water, and the Winds: For a Museum of Errantry with Édouard Glissant" at the Center for Art, Research and Alliances (CARA) in New York, the first U.S. showing of works from the personal collection of Martinician philosopher and writer Édouard Glissant. Curated from his archive, the exhibition features artists such as Roberto Matta, Wifredo Lam, Etel Adnan, Irving Petlin, Antonio Seguí, Öyvind Fahlström, Jack Whitten, and Mel Edwards, reflecting Glissant's friendships and intellectual exchanges across Europe, Africa, and the Americas. Highlights include Antonio Seguí's large pastel works from his Titanic series.

The Revolutionary Tapestry of Nigerian Modernism

The exhibition "Nigerian Modernism" at Tate Modern in London is the first show of its kind in the UK, surveying how Nigerian artists forged a postcolonial identity across the 20th century. It features works by pioneers such as Aina Onabolu, Benedict Enwonwu, and members of the radical Zaria Art Society, including Uche Okeke, Jimo Akolo, and Clara Etso Ugbodaga-Ngu, highlighting their break from British artistic traditions and embrace of local visual heritage.

Alice Tippit’s Mischievous Erotics

Alice Tippit's solo exhibition "Rose Obsolete" at the DePaul Art Museum in Chicago features 23 small oil paintings, three murals, a neon sign, word drawings, and a series of 46 notepad drawings. The works toggle between multiple interpretations—snakes and smiles, blouses and pears, curtains and bodies—inviting viewers to see shifting forms like a psychological test. Tippit, born in 1975 near Kansas City and based in Chicago since 2006, paints each oil work in a single day without tape, achieving sharp edges and subtle layering that reward close looking.

Roses and Thorns of Greater New York

The article is a digest of recent art news, with a primary focus on critical reviews of the 2026 "Greater New York" exhibition at MoMA PS1. Hyperallergic's editorial team provides mixed assessments of the works in the massive quinquennial survey of local artists. The piece also covers American-French sculptor Barbara Chase-Riboud's decision to decline an invitation to represent the United States at the 61st Venice Biennale, citing the problematic nature of the pavilion's commissioning entity.

Big Crisis, Small Gestures

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.

« L’Angélus » de Millet : une notification à l’humanité hors sol ?

Beaux Arts Magazine publishes a detailed visual analysis of Jean-François Millet's painting "L'Angélus" (1857–1859), housed at the Musée d'Orsay in Paris. The article describes the scene of two peasants pausing their potato harvest to pray at dusk, examining the composition, color, and spiritual resonance of the work. It also traces Millet's biography—from his peasant origins in the Cotentin region to his training under Langlois and Paul Delaroche, and his early career painting portraits and nudes before turning to rural subjects.

Mary Frank Creates Her Own Pantheon

Mary Frank, an artist in her early 90s known for mythologically rooted sculpture and works on paper, is the subject of a focused exhibition at Steven Harvey Fine Art Projects in New York. Curated by Steven Harvey, the show presents 11 sculptures in wood, bronze, and ceramic from 1958 to 1985, alongside five works on paper, including a monotype and an oil-on-paper piece. Frank’s work, influenced by her study with Martha Graham, centers on self-sustaining female figures that embody agency, tenderness, and survival, often rendered in ceramic slabs or carved wood.

Mounting Rene Matić’s snapshots in Perspex isn’t really enough to make them interesting | Charlotte Jansen

Rene Matić, at 29, became the youngest winner of the £30,000 Deutsche Börse Photography Foundation prize, nominated for their solo exhibition "As Opposed to the Truth" at CCA Berlin. A smaller version of that show is now at the Photographers’ Gallery in London. Matić was also the youngest Turner Prize nominee last year. The article critiques Matić's work, praising their 2022 piece "Upon This Rock" for exploring masculinity, fatherhood, and British identity, but dismissing much of their other output—like the snapshot installation "Feelings Wheel"—as immature, mediocre, and reliant on display gimmicks rather than photographic substance.

What’s Left to Learn from Marcel Duchamp?

The article examines Marcel Duchamp's enduring influence on contemporary art, focusing on his readymades such as "Fountain" (1917) and "Bicycle Wheel" (1913/1951). It notes that a major survey co-organized by the Museum of Modern Art and the Philadelphia Museum of Art, 70 years after Duchamp predicted his true public would emerge in 50 to 100 years, reaffirms his status as the most influential artist of the past century. The piece discusses how Duchamp's practice of selecting and presenting ordinary objects as art—from a urinal to a snow shovel—once shocked the art world but now seems quaint compared to later works like Maurizio Cattelan's taped banana.

Ruminations on Rashid Johnson’s “A Poem for Deep Thinkers”

The article is a reflective review of Rashid Johnson's exhibition "A Poem for Deep Thinkers" at the Modern Art Museum of Fort Worth. The author describes standing before Johnson's work "Falling Man" (2016), a piece incorporating broken mirrors, burned wood, and personal objects like a copy of Harry Haywood's "Black Bolshevik" and shea butter, which prompts meditations on visibility, identity, and Frantz Fanon's "Black Skin, White Masks." The review also examines Johnson's large-scale installation "Antoine's Organ" (2016/2026), which fills a gallery typically reserved for Ellsworth Kelly's minimalist canvases, transforming the space with scaffolding, plants, books, and video monitors.

Hans Holbein Painted the Human

A new book, 'Holbein: Renaissance Master' by Elizabeth Goldring, published by Yale University Press and the Paul Mellon Centre, offers a comprehensive scholarly examination of the 16th-century German painter Hans Holbein the Younger. The review focuses on Holbein's masterful portraiture, particularly his depictions of opposing Tudor-era figures like Sir Thomas More and Thomas Cromwell, which are highlighted as embodying the era's complex political and religious tensions through their visual presentation at the Frick Collection in New York.

Pleasure, parody and propaganda: rethinking the art of illustration in a new history of the genre

D.B. Dowd's new book "Reading Pictures" offers a sweeping 400-page history of illustration, tracing the genre from the Diamond Sutra frontispiece in Tang China (AD868) to Molly Crabapple's Gaza reports in 2015. The book examines key works such as Jules Chéret's 1891 poster for the Alcazar d'Été Club, Stuart Davis's caustic covers for The Masses, and Duong Ngoc Canh's Vietnamese propaganda poster, arguing that illustrations are meant to be "read" rather than admired like museum paintings.

New biography of Chaïm Soutine pieces together illusive artist's life and works

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.