Robert Therrien Estate Leaves Gagosian for David Zwirner, Olney Gleason Now Represents Jill Magid, and More: Industry Moves for May 6, 2026

The ARTnews article reports a series of significant gallery representation changes and industry moves in the art world as of May 6, 2026. Key shifts include the Robert Therrien Estate leaving Gagosian for David Zwirner, Olney Gleason now representing Jill Magid, and several other artists—Tianyue Zhong, Africanus Okokon, Seung Ah Paik, Khalif Tahir Thompson—joining or switching galleries. Miriam Machado has been named director of the Patricia and Phillip Frost Art Museum. The article also notes the rising costs and commercial realities of staging exhibitions at the Venice Biennale, including a Christie's selling show at Palazzo Ca' Dario.

Raghu Rai obituary

Raghu Rai, the renowned Indian photographer known for capturing his country's post-independence history through singular, enduring images, has died at age 83 from cancer. Rai's career spanned six decades, during which he documented events from the 1984 Bhopal gas disaster to the Bangladesh war of independence, and photographed figures including Indira Gandhi, Mother Teresa, and the Dalai Lama. He joined Magnum Photos in 1977 after being invited by Henri Cartier-Bresson, and worked as a staff photographer for the Statesman and as picture editor for India Today.

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.

DACA Artist Uses Thread to Weave Immigration Stories

Arleene Correa Valencia, a DACA recipient and Bay Area artist, presents her debut solo exhibition "CÓDICE •• SOBREVIVIENDO A LA PERSECUCIÓN" at Fridman Gallery in Manhattan, on view through May 2. The show features large-scale acrylic and textile works on amate bark paper, including a 16-foot-long piece depicting border-crossing narratives. Valencia collaborates with her father, mother-in-law, and papermaker Jose Daniel Santos de la Puerta, and incorporates childhood letters that poignantly reflect family separation and undocumented life.

ArtReview April & May 2026 Issue Out Now

ArtReview's April & May 2026 issue explores boundaries and limitations in art, with a focus on the 61st Venice Biennale opening amid global conflicts. The cover features Japanese-American performance artist Ei Arakawa-Nash with his husband and twin babies, whose collaborative installation at the Japanese Pavilion incorporates the unpredictability of childcare. The issue includes coverage of controversial national pavilions (Russian, Israeli, American), profiles of artists representing Mongolia and Singapore, and features on Beverly Buchanan, Arthur Jafa, Richard Prince, and Zehra Doğan's report from Rojava. It also reviews the 82nd Whitney Biennial, the 25th Biennale of Sydney, and the 15th Shanghai Biennale.

Ghosts, nudes and lesbian pageant queens: highlights from NYC’s Photography Show – in pictures

Aipad: The Photography Show is taking place at the Park Avenue Armory in New York from April 22-26, 2026, featuring works from over 70 galleries. The exhibition highlights include Bill Brandt's 1952 nude, Rania Matar's portrait of a young woman in Lebanon, and Zanele Muholi's 2009 portrait of a lesbian pageant queen, alongside works by Tania Franco Klein, Ruth Thorne-Thomsen, and others that explore themes of identity, anxiety, and alternative realities.

The 61st Venice Biennale: 'artists who confront difficult realities in unusual ways' at Palazzo Grassi and the Punta della Dogana

Curators Emma Lavigne and Jean-Marie Gallais have organized exhibitions for the Pinault Collection at Palazzo Grassi and Punta della Dogana during the 61st Venice Biennale, featuring artists Lorna Simpson, Paulo Nazareth, Michael Armitage, and Amar Kanwar. The shows respond to global tensions, with Nazareth using salt to trace a ghost ship referencing the slave trade, and Simpson creating nocturnal paintings and collages from Ebony and Jet magazines that explore identity and history. The exhibitions are part of the Biennale's broader global outlook, engaging with Venice's mercantile past and contemporary migration routes.

US-Israel war on Iran disrupts art transport routes as prices surge

The ongoing US-Israel war on Iran has severely disrupted global art logistics, causing oil prices to surge and key shipping routes to close. Air freight costs for fine art have skyrocketed by 70% to 300%, and critical corridors like the Strait of Hormuz have become impassable, leaving exhibitions stranded at airports and shipments stuck at sea.

Master of Madonnas and the Market

Meister der Madonnen und des Marktes

A major exhibition titled "Raphael: Sublime Poetry" has opened at the Metropolitan Museum of Art in New York, exploring how the Renaissance master Raphael's work was deeply intertwined with money, prestige, and patronage. The show traces his career from early mentorship under his father and influences from Leonardo da Vinci to his rivalry with Michelangelo, highlighting commissions from wealthy supporters like the aristocrat Elena Duglioli and Pope Leo X, who commissioned Raphael's extravagant tapestries for the Sistine Chapel.

Immersive exhibitions and visits not to miss from spring to summer in France

Les expos et visites immersives à ne pas rater du printemps à l’été en France

The article from Beaux Arts Magazine highlights a selection of immersive art exhibitions and experiences across France for spring and summer 2026. Featured attractions include "Passion Japon" at Parc de la Villette in Paris, a journey through Japanese culture with Hokusai and Hiroshige projections; "L'Odyssée Céleste" at Église Saint-Eustache, a 3D light spectacle with live choral music; "Frissons" at the Musée d'Orsay, an interactive light installation by artist Adrien M responding to visitors' movements; and a Picasso immersive experience at Les Baux-de-Provence.

'I wanted to catch the desperation': Dries Verhoeven on turning the Dutch pavilion into a bunker for the Venice Biennale

Artist Dries Verhoeven has transformed the Dutch pavilion at the Venice Biennale into a bunker-like space by covering its iconic glass-and-steel structure with metal shutters. Inside, visitors experience a gradually darkening environment and a raw vocal performance by 13 rotating performers, intended to evoke desperation and confusion about contemporary global crises. The work critiques the modernist ideals of openness and optimism embodied by the pavilion, designed by Gerrit Rietveld in 1953.

Barbados's slavery museum and memorial faces major delays

Barbados's Heritage District at the Newton Enslaved Burial Ground, a major project including a memorial, national museum, archives, and cultural complex, is facing significant construction delays more than four years after its 2021 announcement. The site, one of the largest known burial grounds of enslaved Africans in the Western Hemisphere, is being developed under the Road (Reclaiming Our Atlantic Destiny) Programme led by Prime Minister Mia Amor Mottley. While a temporary pavilion for the National Performing Arts Centre opened in August 2025, the overall completion—initially slated for 2024—has been pushed back due to expanded archival digitization, supply-chain disruptions, and a fire at the Barbados Archives Department in June 2024. The memorial, designed by Adjaye Associates, is conceived as a landscape intervention using teak sourced from Ghana.

Aileen Murphy Sleeps on the Ceiling

Aileen Murphy's third exhibition at Deborah Schamoni in Munich, titled "Sleeps on the Ceiling," presents five new paintings dominated by rosé and pink tones. The works revolve around a table-like motif, featuring animals, disembodied limbs, and surreal details such as a white cat with red eyes and a yellow snake. Murphy, who completed her studies in 2018, blends abstract gestures with detailed figuration, creating scenes that are both playful and uncanny. The exhibition's title is borrowed from Elizabeth Bishop's poem "Sleeping on the Ceiling" (1946), reflecting a dissolution of domestic interior, urban monument, and psychological landscape.

Phillips Collection’s new ‘Miró and the United States’ exhibit focuses on transatlantic cultural exchange rather than conflict

The Phillips Collection in Washington, D.C., has opened a new exhibition titled 'Miró and the United States,' curated by Elsa Smithgall. The show features 75 works by Joan Miró alongside pieces by more than 30 other artists, including Alexander Calder, Rufino Tamayo, and Arshile Gorky. Rather than framing the relationship as a cultural clash between European modernism and American art, the exhibition emphasizes transatlantic artistic exchange during the mid-20th century, particularly in the shadow of World War II and the Spanish Civil War. Key works include Miró's 'Constellations' series and 'Still Life with Old Shoe' (1937), which are presented in dialogue with American contemporaries who responded to his visual language.

Islamophobia, motherhood, war and immigration: Indy artists get political

Four Indianapolis-based artists—Salma Taman, Alejandra Carrillo, Bailey Jörk, and Iryna Bondar—are creating work that directly responds to contemporary political and social crises, including the war in Gaza, immigration, and political division. Their art, ranging from Taman's Arabic calligraphy painting promoting forgiveness to Carrillo's digital drawing protesting a migrant detention center, serves as a form of personal and communal expression in a fraught global climate.

Lithuanian, Latvian, and Estonian Pavilions Stage Pro-Ukraine Procession During Venice Biennale

On May 6, 2026, the Lithuanian, Latvian, and Estonian pavilions at the Venice Biennale organized a procession in solidarity with Ukraine, walking approximately one and a half miles from the Lithuanian Pavilion in the Fucina del Futuro to the Estonian pavilion. The action honored Ukrainian cultural workers creating under war conditions and those who have died. It is one of several political protests at the contentious 2026 Biennale, including demonstrations by Pussy Riot and FEMEN at the Russian pavilion, a "Solidarity Drone Chorus" opposing Israel's inclusion, and a planned 24-hour strike by the Art Not Genocide Alliance.

May Book Bag: from a guide on entering the art world to a publication about artists influenced by Ovid’s Metamorphoses

The May Book Bag article from The Art Newspaper reviews four new art-related publications. It covers "Metamorphoses: Ovid and the Arts," edited by Francesca Cappelletti and Frits Scholten, which examines Ovid's influence on Western art through works by artists like Titian, Caravaggio, and Louise Bourgeois. Other featured books include Hettie Judah's "How to Enter the Art World," a practical guide for emerging artists; "Derrick Adams: Prints," showcasing the artist's printmaking from 2019-2025; and "Whistler's Legacy" by Daniel Sutherland, which explores the legacy of James Abbott McNeill Whistler through his close associates.

Is A Random Unknown Artist More Valuable Than Picasso? AI Thinks So.

An experiment using a custom AI model to evaluate artistic value independent of market context found that the model assigned a seven-figure price to an unknown street artist's work while valuing a Picasso at under $1,000. The project, run by an art journalist with a data scientist and an AI expert, trained a Fine Art Large Vision Model on millions of images and price data. Without metadata like artist name or gallery affiliation, the model's predictions were technically interesting but commercially useless; only when those market signals were added did predictions align with real auction outcomes.

Wilhelm Sasnal and the Intimacy of History

The article reviews national pavilions at a major international art exhibition, focusing on the US, British, and German presentations. Andrew Durbin critiques the US pavilion as vacuous and lacking meaning, while praising the British and German installations as incisive and moving. The review highlights a contrast between superficial spectacle and deeply engaging, historically resonant works.

Interview. Max Goelitz

In an interview marking the sixth anniversary of his gallery, Max Goelitz reflects on the founding and evolution of his two-location operation in Munich and Berlin. He discusses how his decade at Häusler Contemporary, where he served as director, prepared him for the unpredictable nature of running his own gallery. The COVID-19 pandemic forced a strategic pivot from international ambitions to a focus on the local German market, which proved unexpectedly sustainable. Goelitz also addresses the current challenges facing galleries, including generational shifts and a more difficult art market, while advocating for an "old-school" reconsideration of what defines a gallery in times of transition.

Koyo Kouoh’s Venice Biennale Looks to Ancient Wisdom to Mend a Fractured Present

Koyo Kouoh's Venice Biennale, titled after ancient wisdom, opens with a focus on healing and historical reimagination. The exhibition features works by artists such as Alexa Kumiko Hatanaka, Khaled Sabsabi, Daniel Lind-Ramos, Guadalupe Maravilla, Kennedy Yanko, and Ayrson Heráclito, alongside a strong emphasis on artist-led schools and institutions like Denniston Hill, blaxTARLINES KUMASI, and RAW Material Company. During the opening, the Koyo Kouoh Foundation was announced, set to launch in Basel to support Pan-African cultural infrastructure. The show includes Refaat Alareer's poem "If I Must Die" and addresses political realities, blending spiritual, ecological, and technological themes to explore collective care and restoration.

Larissa Sansour: Rogue Agents of History

Wereldmuseum Amsterdam is presenting "Rogue Agents of History," the first solo exhibition in the Netherlands by Palestinian artist Larissa Sansour. Running from April 24 to September 27, 2026, the show features three films—including the premiere of "A Sunken Tale of Losses Delayed" commissioned by the museum—alongside Sansour's artworks, personal heirlooms, film props, and historical objects. Curated by Nat Muller, the exhibition explores themes of identity, memory, belonging, and loss through a science-fiction lens, drawing on the Palestinian context and blurring boundaries between fact and fiction.

Tel Aviv Museum turns shelters into art spaces during war

During weeks of war in Israel, the Tel Aviv Museum of Art closed its galleries and moved a rare exhibition, "The Day Is Gone: 100 Years of the New Objectivity," into reinforced protected spaces. Director Tania Coen-Uzzielli then created guided tours inside the shelter, complete with live piano music and interpretation, allowing visitors to experience the artworks in a space designed for safety rather than display. The tour, titled "The Event Has Not Ended," plays on the automated safety notification that signals the end of a siren threat, suggesting that the event of war never truly ends.

Chinese Artist Cao Fei Opens New Exhibit at Fondazione Prada: See “Dash”

Chinese artist Cao Fei has opened a new solo exhibition titled "Dash" at the Fondazione Prada in Milan. The exhibition presents a new body of work, including video installations and sculptures, continuing her exploration of digital realities, urban transformation, and the human condition in a rapidly changing world.

A View From the Easel

New Jersey-based artist Hadieh Afshani is featured in the 334th installment of Hyperallergic's 'A View From the Easel' series, which profiles artists in their workspaces. Afshani describes her studio practice at Mana Contemporary in Jersey City, where she balances her art with caring for her baby, working around his feeding and sleeping rhythms. She emphasizes the importance of natural light, a sink for fluid processes, and the supportive community of fellow artists and mothers.

The Biennale of Quiet Tones

Die Biennale der leisen Töne

The 61st Venice Biennale's main exhibition, titled "Gardens, Processions, Art as Expression of Lived Realities," places humanity at its center. Curators revealed minimal biographical details for the 111 participating artists, only noting the oldest (Marcel Duchamp, born 1887) and youngest (Mohammed Z Rahman, born 1997), signaling a deliberate shift away from individual fame toward collective experience.

The Palais des Papes in Avignon cancels Macha Makeïeff's exhibition

Le Palais des Papes d’Avignon renonce à l’exposition de Macha Makeïeff

The Palais des Papes in Avignon has cancelled its planned summer exhibition, 'Les Choses divines – Inventaire fantaisiste,' conceived by French director, scenographer, and visual artist Macha Makeïeff. The cancellation, officially attributed to a combination of administrative, technical, and budgetary constraints, may also be linked to the recent municipal election that saw Olivier Galzi succeed Cécile Helle as mayor.

Venice exhibition of site-specific films aims to capture the hyper stimulating times we are living in

The Fondazione In Between Art Film presents "Canicula," the third and final exhibition in its Trilogy of Uncertainties, opening on 6 May at the Complesso dell’Ospedaletto in Venice. Curated by Leonardo Bigazzi, the show features eight newly commissioned site-specific films that explore themes of excess, sensory overload, and geopolitical tension. Works include Roman Khimei and Yarema Malashchuk's "Affirmations" (2026), depicting fictional deathbed testimonies of Russian soldiers, Lawrence Abu Hamdan's "450XL: The Story of a Fugitive Sound" (2026) about a sonic attack in Belgrade, and Maya Watanabe's "Jarkov" (2025-26) reflecting on Arctic ice melt and Pleistocene remains.

Pavel Brǎila on Representing Moldova at the 61st Venice Biennale

Pavel Brǎila is representing Moldova at the 61st Venice Biennale with an installation titled "Echoes of Harmony and Silent Cries" (2026), featuring flying carpets that fill the pavilion space at Santa Veneranda. In an interview with ArtReview, Brǎila explains that the work was driven by the constant presence of war in the news—Ukraine, Israel and Gaza, and other conflicts—and evolved into a sound installation as the propellers of the carpets created a minor-key resonance. He describes his first visit to the Biennale 25 years ago as a festive art festival, but now sees the platform as a crucial opportunity to represent his country's voice and express his urgent feelings about the world.

PinchukArtCentre opens new exhibition at the Venice Biennale

The PinchukArtCentre has opened a new exhibition titled "Still Joy — From Ukraine Into the World" as part of the official parallel program of the 61st Venice Biennale. The show, which opened on May 7 at Palazzo Contarini Polignac and runs through August 1, features works by over 20 international and Ukrainian artists exploring joy as an act of resilience and humanity. Central to the exhibition are testimonies from Hlib Stryzhko, a marine veteran who returned from Russian captivity, which are transformed into sculptural elements. Notable works include a protest performance by Yurii Hruzinov at the Russian pavilion, a video installation of Kyiv rave parties by Malashchuk and Khimei, and installations by Future Generation Art Prize laureates Ashfika Rahman and Zhanna Kadyrova.