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The art world is mourning the loss of influential sculptor Thaddeus Mosley, who passed away at age 99. Known for his monumental yet graceful abstract works crafted from salvaged wood, Mosley gained significant critical acclaim late in his career for his mastery of weight and space. His death leads a series of industry updates, including the passing of Malaysian artist chi too and sculptor Ken Turnell, alongside a controversial report that the Department of Government Efficiency (DOGE) allegedly used AI to target National Endowment for the Humanities grants for cancellation.

10 Practical Reasons We Need to Defend the National Endowment for the Arts

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President Donald Trump's administration has renewed efforts to defund the National Endowment for the Arts (NEA), proposing for the fourth consecutive year a budget that would zero out the agency. The Heritage Foundation, a conservative think tank that has staffed the current administration, continues to promote its 1997 report 'Ten Good Reasons to Eliminate Funding for the National Endowment for the Arts' as a key reference in debates. This article, originally published in 2020 and republished in response to these developments, systematically rebuts each of the Heritage Foundation's arguments against the NEA, beginning with the claim that private support alone is sufficient.

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This week's art industry roundup covers major developments including the sale of Frieze to Hollywood powerbroker Ari Emanuel for $200 million, the opening of Frieze New York amid a cautious market, and the appointment of Alexander Rotter as global president of Christie's. Other highlights include the collapse of a record $32 million Gustav Klimt sale due to restitution issues, Phillips adding country-of-origin details to lot descriptions due to tariff confusion, and gallery moves such as Petzel now representing Tschabalala Self and Hauser & Wirth selling its Upper East Side townhouse for $10.5 million. The Mellon Foundation announced $15 million in emergency funds for state arts councils to offset cuts by the National Endowment for the Humanities.

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Sotheby's London modern and contemporary evening sale brought in $85.7 million, down from $105 million last year, with highlights including a $10 million Tamara de Lempicka and a record $9.6 million auction result for Jenny Saville's drawing 'Mirror'. In other market news, a crowdfunding campaign raised over £100,000 to help Bristol Museum acquire a rediscovered J.M.W. Turner painting, and a Tiffany Studio window sold for $4.2 million at Christie's. Galleries announced new representation deals: James Cohan now represents Ranti Bam, Maruani Mercier represents Kate Gottgens, and Yancey Richardson represents Karen Gunderson; Ronchini gallery is moving to a new Mayfair location. Tate launched a £150 million endowment fund, the Louvre announced an international architectural competition to address overcrowding, the Uffizi imposed selfie restrictions after a tourist damaged a painting, the Cleveland Museum of Art acquired a rare Giambologna marble, and Italy's culture minister pledged support for the return of the Parthenon Marbles to Greece.

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Tate has announced an ambitious plan to build a £150 million ($201 million) endowment by 2030, launching the Tate Future Fund in June with over £43 million ($58 million) pledged. The initiative, unveiled at a high-profile gala that raised £1 million ($1.34 million), has sparked debate across the UK museum sector about the viability of endowment models for long-term sustainability. Meanwhile, the Baltic Centre for Contemporary Art in Gateshead launched a £10 million ($13 million) endowment, bolstered by a gift from musician Sting, and other UK museums like the British Museum and V&A have quietly built similar reserves. In a separate story, Matthiesen Gallery has filed a lawsuit in US District Court against convicted fraudster Thomas Austin Doyle, artist Shalva Sarukhanishvili, Jill Newhouse Gallery, and art collector Jon Landau over the alleged mishandling of Gustave Courbet's painting *Mother and Child on a Hammock* (ca. 1844), claiming fraud and breach of contract after the painting was sold far below its market value.

Montclair Art Museum Hires Esteemed Curator Kate Kraczon After Layoffs at Brown University

The Montclair Art Museum in New Jersey has appointed Kate Kraczon as its new chief curator, effective June 15. Kraczon previously served as director of exhibitions and chief curator at the David Winton Bell Gallery at Brown University, where she was laid off in late 2024 amid a wave of cuts. She succeeds Gail Stavitsky, who held the post since 1994. The museum also recently hired Todd Caissie, an enrolled member of the Osage Nation and former director of Canada’s New Brunswick Internment Camp Museum, as its director.

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New York's Metropolitan Opera is considering selling two monumental Marc Chagall murals, 'The Sources of Music' and 'The Triumphs of Music' (1966), valued at $55 million by Sotheby's, to address a severe financial crisis. The Met has already drawn $120 million from its endowment, reduced performances, and struck a controversial $100 million deal to perform in Saudi Arabia, which has drawn scrutiny over human rights abuses. The murals, which hang in the Grand Tier, would remain in place even if sold, and the Met is also exploring naming rights and theater leasing.

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The Mauritshuis in The Hague announced it will loan Johannes Vermeer's "Girl with a Pearl Earring" (circa 1665) to the Nakanoshima Museum of Art in Osaka, Japan, this summer while the Dutch museum closes for building alterations from August 24 to September 20. Separately, President Donald Trump's administration released a memo on January 7 stating the US will withdraw from over 60 international groups, including ICCROM and IFACCA, which focus on arts and cultural heritage preservation, arguing these bodies operate contrary to US interests.

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Alma Allen, a Utah-born, Mexico-based sculptor, has been selected to represent the United States at the 2026 Venice Biennale, according to ARTnews sources. The pavilion's commissioning curator is Jeffrey Uslip, who previously curated the Malta Pavilion in 2022. The official announcement is pending the end of the government shutdown. Allen, known for large-scale stone, wood, and bronze sculptures, is in talks with Perrotin gallery for representation after his previous gallery, Kasmin, closed and rebranded as Olney Gleason.

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The Portland Art Museum has completed a $116 million expansion and renovation, integrating two neighboring buildings and adding nearly 100,000 square feet of public and gallery space. The centerpiece is a 21,000-square-foot glass pavilion named after Mark Rothko, who grew up in Portland and attended the museum's art school. The project, largely privately funded, unites the original 1932 Belluschi building with the 1927 Mark Building (a former Masonic Temple) via a transparent, 24-hour pedestrian tunnel. Director Brian Ferriso led the capital campaign, which also raised $30 million for the endowment, and recruited Hennebery Eddy Architects and Vinci Hamp Architects as designers.

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The United States Pavilion at the upcoming Venice Biennale faces an uncertain future after a proposal by artist Robert Lazzarini and independent curator John Ravenal collapsed. The proposal, selected by the US State Department in early September, fell through when the University of South Florida’s Contemporary Art Museum declined to sign the contract, citing a shortened timeline and financial obligations. Ravenal attributed the breakdown to bureaucratic misalignment rather than ideological disagreement, while the State Department declined to comment. The selection process also shifted this year, with the National Endowment for the Arts excluding itself due to staffing transitions, leaving the State Department to handle it alone.

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Adam Levine, director and CEO of the Toledo Museum of Art, has transformed the Ohio institution into a model for digital adaptation. Over five years, he grew the operating budget from $15 million to $23 million, expanded the endowment by $90 million, and launched TMA Labs, an in-house consultancy focused on data, Web3, AI, and emerging technologies. The museum has acquired digital artworks including NFTs and digital numismatics, established a digital artist-in-residence program, and opened the exhibition "Infinite Images," which traces the history of computer and digital art. Levine, one of the youngest museum directors in the U.S. at 38, discussed these initiatives in an interview with ARTnews.

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Lisa Phillips, director of New York's New Museum, will retire after more than 25 years in the role, as reported by the New York Times. The museum is currently in the midst of a 62,000-square-foot expansion expected to open this fall, though no date has been set. Phillips, 71, oversaw the museum's relocation to the Bowery in 2007, launched the influential New Museum Triennial in 2010, and added initiatives like New Inc and Rhizome. Her tenure also included controversies, such as criticism over a 2010 show of works owned by a trustee, staff complaints about her $900,000 salary, and tensions around the museum's unionization in 2019.

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The Dallas Museum of Art (DMA) has appointed Brian Ferriso, the longtime director of the Portland Art Museum (PAM), as its next director, effective December 1. Ferriso succeeds Agustín Arteaga, who left last year to lead the Crocker Art Museum in Sacramento. During his 18-year tenure at PAM, Ferriso grew the endowment by $40 million, eliminated $7 million in debt, doubled curatorial staff, and made the museum free for visitors 17 and under. He also oversaw major collection diversification, co-commissioned Jeffrey Gibson’s U.S. Pavilion at the 2024 Venice Biennale, and will open a 100,000-square-foot expansion funded by a $140 million capital campaign.

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Art in America's 2025 "New Talent" issue features 20 emerging artists chosen by the magazine's editors, including Nico Williams, Bint Mbareh, Justin Allen, Agnes Questionmark, and Brooklin A. Soumahoro. The issue also includes a postmortem on figurative painting by Barry Schwabsky, an essay on spiritual art by Eleanor Heartney, a symposium on art's purpose with seven artists, and a tribute to the late Jaune Quick-to-See Smith by Emmi Whitehorse. Other sections cover Suzanne Valadon, Hito Steyerl's book, and a debate between art fairs and biennials.

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As President Donald Trump cuts U.S. art programs and funding, questions surround the country's participation in the 2026 Venice Biennale. A Vanity Fair piece by Nate Freeman reports that the selection process is already behind schedule, with the U.S. State Department's typical 18-month lead time now reduced to just one year. The National Endowment for the Arts, which convenes the advisory committee for the pavilion, has been halted, and a key assistant secretary position is vacant. The application portal remains open but now includes new language requiring art that "reflects and promotes American values" and scrubbing references to diversity, equity, and inclusion (DEI).

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The US State Department has finally posted a grant for artists to submit proposals for the 2026 Venice Biennale pavilion, after an unusual delay that sparked speculation the Trump administration might skip the event. The posting includes new "MAGA-fied criteria" that remove previous language about diversity and equity, instead requiring compliance with Federal anti-discrimination laws and prohibiting programs promoting Diversity, Equity, and Inclusion. Meanwhile, the National Endowment for the Arts canceled grants and the Trump administration proposed eliminating the agency entirely. Other news includes a trove of Buddha relics heading to auction at Sotheby's Hong Kong, Michael Werner opening a second New York gallery, and the Art Institute of Chicago's president taking leave amid an investigation.

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President Donald Trump has proposed eliminating the National Endowment for the Arts (NEA), and arts organizations across the U.S. are already feeling the impact. After a White House budget request in May that excluded the NEA, dozens of institutions received abrupt termination notices for their grant applications, with the NEA citing a shift in policy priorities to focus on projects reflecting the nation's artistic heritage as prioritized by the President. In protest, many senior NEA staff resigned or were asked to retire, leaving the agency in disarray. The cuts are part of broader federal efforts to defund cultural agencies, including the Kennedy Center, the Smithsonian, and the National Endowment for the Humanities, which has seen a 70-80 percent staff reduction and canceled over a thousand grants. Private foundations like the Mellon Foundation and the Helen Frankenthaler and Andy Warhol Foundations have launched emergency funding programs, but the consequences for artists, educators, and community organizations are immediate and destabilizing.

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This week's art industry roundup covers major developments across art fairs, auction houses, galleries, and museums. At Expo Chicago, emerging artist Auudi Dorsey sold her painting *Rumble* (2025) for $14,000 on opening day at Palo Gallery, while the fair featured 170 exhibitors including 20 from South Korea amid tariff concerns. Vienna Contemporary appointed Abaseh Mirvali as artistic advisor for 2025-2026. Sotheby's was selected by Barbara Gladstone's estate trustees to sell her collection, starting with a May 15 single-owner sale of 12 works estimated at over $12 million. Nine artworks from the Anne and Sid Bass collection head to Christie's New York, and Sotheby's secured a $70 million Alberto Giacometti sculpture for its May 13 evening sale. Philipp Kaiser departed Marian Goodman Gallery after six years. Customs backlogs from President Trump's import policy changes are causing shipping headaches, with DHL halting business-to-consumer shipments over $800 to the U.S. Air de Paris withdrew from Art Basel. Mexico City gallery OMR hired Agustina Ferreyra as director. Angelica Jopling is expanding her London gallery Incubator to New York. Alexander Gray Associates now represents Donald Moffett. In museums, the National Endowment for the Humanities, following DOGE staff cuts, is offering grants up to $600,000 for statues for Trump's National Garden of American Heroes. CCS Bard appointed Lauren Cornell as artistic director and Mariano Lopez Seoane as graduate program director. The New York Academy of Art named Paul R. Provost president. The Artists' Legacy Foundation appointed Daisy Murray Holman executive director. The Speed Art Museum named Diallo Simon-Ponte assistant curator. The Garage Museum of Contemporary Art in Moscow appointed Daria Kotova director. The Nasher Sculpture Center named Carlos Basualdo director. The Cultural Infrastructure Index reported a 17% drop in completed cultural projects in 2024.

Whistleblower Complaint Alleges Misconduct at Palm Springs Art Museum, Where an Ex-Trustee Describes a ‘Shattered Moral Compass’

An anonymous whistleblower has filed a complaint alleging misconduct by leadership at the Palm Springs Art Museum, including improper movement of funds between accounts to address cash shortages, the forced resignation of a former director based on fabricated staff complaints, and a failure to properly interview external candidates for the director position. The complaint, forwarded to ARTnews, also references a $3 million discrepancy in the reported endowment value and the departure of several trustees, leaving the board below its required size. The museum has formed a special committee to investigate the allegations, which were first reported by the Los Angeles Times in November 2025.

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The Penn Museum at the University of Pennsylvania is courting controversy by consigning a major 1891 painting by Ottoman artist Osman Hamdi Bey, titled "At the Mosque Door," to Bonhams London with an estimate of $2.7–$4 million. Although the museum purchased the work directly from the artist in 1895, it was never formally accessioned into the collection, allowing the institution to bypass strict industry regulations that typically prohibit using art sale proceeds for anything other than new acquisitions or collection care. The museum intends to use the funds to establish a permanent endowment for the long-term maintenance of its vast archaeological holdings.

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The Andy Warhol Foundation for the Visual Arts has announced its Fall 2025 grant recipients, awarding over $4 million to 57 arts organizations across 17 states, Washington, D.C., and two international locations. Grantees range from established institutions like the Contemporary Arts Museum Houston and Independent Curators International to smaller artist-run spaces such as Mini Mart City Park in Seattle and Transformer in Washington, D.C. Twenty organizations are first-time recipients, including Path with Arts in Seattle and Access Gallery in Denver. Exhibition support covers solo shows for artists like Ching Ho Cheng, Gisela Colón, and Leilah Babirye, as well as group exhibitions such as “Telenovelas” at the Americas Society and the Counterpublic 2026 Triennial.

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The Phillips Collection in Washington, D.C., is proceeding with plans to auction major works by Georgia O'Keeffe, Arthur Dove, and Georges Seurat at Sotheby's on November 20, despite sharp backlash from former curators, members of the Phillips family, and the museum's non-governing members body. The works—including O'Keeffe's *Large Dark Red Leaves on White* (estimate $6–8 million), Seurat's conté crayon drawing ($3–5 million), and Dove's *Rose and Locust Stump* ($1.2–1.8 million)—are considered central to founder Duncan Phillips's vision. Director and CEO Jonathan Binstock argues the proceeds will fund a permanently restricted endowment for commissioning new work by living artists, acquisitions, and collection care, aligning with Duncan Phillips's belief in supporting contemporary practitioners.

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Trustee Patsy Marino resigned from the Palm Springs Art Museum board just one week after Christine Vendredi was appointed director on September 29, 2024. In a resignation letter reported by the Los Angeles Times, Marino alleged that the hiring committee failed to interview any outside candidates, despite two "exceptional" candidates being considered, and cited "inappropriate interference" by the executive committee, individual trustees, and museum staff. Two other board members also left the 22-member body, though the museum claims their departures were unrelated. Vendredi, previously chief curator and interim CEO, has a background in luxury brand management at Louis Vuitton and holds multiple advanced degrees but no prior museum directorship experience.

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The J. Paul Getty Trust has appointed Glenn D. Lowry, former director of New York's Museum of Modern Art, and Lionel M. Sauvage, a French philanthropist and collector, to its board of trustees, effective in 2026. Lowry led MoMA for 30 years, overseeing major expansions and the integration of PS1, while Sauvage holds leadership roles at Les Arts Décoratifs and other cultural institutions.

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More than 150 unionized workers at Britain's Tate museums, represented by the Public and Commercial Services Union (PCS), will strike from November 26 to December 2 over what they call inadequate pay raises. The strike follows a vote where 98% of members supported action, with 88% turnout. Staff at Tate Britain, Tate Modern, Tate Liverpool, and Tate St. Ives were offered a 2-3% salary increase, which the union argues is below the government's Civil Service Pay Remit Guidance maximum of 3.25%. The action coincides with the opening of the major exhibition "Turner & Constable: Rivals & Originals" at Tate Britain on November 27.

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President Trump's proposed spending legislation, known as the "Big Beautiful Bill," includes $40 million for the procurement of statues for the National Garden of American Heroes. The funds, appropriated to the National Endowment for the Humanities for fiscal year 2025 and available through 2028, will support life-size statues of 250 historical figures, with selected artists receiving up to $200,000 per statue. The garden, first announced in a 2020 executive order, is a priority for the 250th anniversary of the Declaration of Independence and requires realistic depictions in materials like marble or bronze.

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The Andy Warhol Foundation for the Visual Arts and the Helen Frankenthaler Foundation have announced an $800,000 fund to support 80 visual arts programs at small and mid-sized organizations across the United States. Each recipient, previously funded through the National Endowment for the Arts' Challenge America initiative, will receive $10,000 to advance projects stalled after the Trump administration suspended that federal program. The announcement comes amid broader cuts to federal arts funding, including the departure of all 10 NEA grant directors and the termination of grants for organizations like n+1, SculptureCenter, Queer Art, and A.I.R. Gallery, which received notices citing misalignment with the administration's priorities.

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Museums worldwide are urgently searching for new financial models as government funding declines, wealthy patrons pull back, and corporate sponsors face pressure. A global study published in January by the International Research Alliance on Public Funding for Museums found that in 37 percent of responding countries, 71 to 100 percent of museums now receive most funding from private sources. Institutions are exploring endowments, new revenue streams, and collaborative approaches, with the Louvre becoming the first French museum to create an endowment fund in 2009, raising €175 million. The $85 trillion Great Wealth Transfer offers hope, but next-generation donors prioritize transparency and meaningful engagement over prestige.

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New York's major art museums, including MoMA, the Guggenheim, the Metropolitan Museum of Art, and the Whitney, are experiencing attendance figures that have not surpassed their peaks from several years ago. MoMA projects reaching 3.24 million visitors for the 2012–13 fiscal year, just shy of its 2009–10 record of 3.22 million, driven by blockbuster exhibitions like "Magritte: The Mystery of the Ordinary" and a Sigmar Polke retrospective. Meanwhile, the Guggenheim's attendance peaked in 2009, the Met saw its busiest season in 2011–12 with 6.28 million visitors and is now on track for a second consecutive decline, and the Whitney's high was 372,000 in 2009–10. Factors cited include a harsh winter, ongoing construction at the Met, and a shift toward more scholarly exhibitions, though tourism growth in New York continues, especially among international visitors.