The Munich gallery Filser and Gräf is presenting a two-person exhibition titled "Medèn ágan – Nothing in Excess," featuring artists Paris Giachoustidis and Toshihiko Mitsuya. The show uses the ancient Greek maxim as a curatorial framework, with Mitsuya's delicate, reflective aluminum sculptures and Giachoustidis's paintings of futuristic, cosmic landscapes exploring themes of balance, scale, and humanity's place in the universe.
Indira Cesarine, the founder of The Untitled Space in Tribeca, reflects on a decade of operating her gallery as a platform for marginalized voices and feminist-driven programming. The gallery grew out of Cesarine’s work as an editor and curator, specifically following the success of her 2009 publication, The Untitled Magazine, and early exhibitions that highlighted the lack of representation for women in the art market.
The Affordable Art Fair New York returns for its spring 2026 edition at the Starrett-Lehigh Building in Chelsea, featuring a diverse array of local and international exhibitors. A central highlight of this year's fair is the curated exhibition "Sight Unseen: How Photography Shapes Perception," which showcases artists pushing the boundaries of photography through new technologies, sculptural elements, and alternative processes. All works at the fair are priced between $100 and $12,000, maintaining the event's commitment to price transparency and accessibility.
London-based gallery Trinity Fine Art has announced a curated presentation for TEFAF Maastricht 2026 focusing on the stylistic evolution from Mannerism to the Baroque. The showcase features three significant works: an ambitious 1580 biblical scene by Lavinia Fontana, a rare and well-documented 1610 depiction of St. Jerome by Orazio Gentileschi, and a mature 1620 composition of the Holy Family by Giulio Cesare Procaccini.
Recent scientific and archival investigations have led to two significant new attributions to the Renaissance master Michelangelo Buonarroti. The first involves a painting titled 'Spirituali Pietà,' which was previously sold as an anonymous work but has now been linked to the artist through pigment analysis, X-ray fluorescence of monograms, and stylistic parallels to his known masterpieces. Simultaneously, researcher Valentina Salerno has identified a marble bust of Christ the Savior in Rome’s Basilica of St. Agnes Outside the Walls as a potential Michelangelo original, based on a decade of archival research.
Russia has announced it will reopen its national pavilion at the 2026 Venice Biennale after a four-year hiatus following the invasion of Ukraine. The pavilion, which remained closed in 2022 and was loaned to Bolivia in 2024, will host an exhibition titled "The Tree is Rooted in the Sky" featuring a "musical festival" with over 50 participants from Russia and countries including Argentina, Brazil, Mali, and Mexico.
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A comprehensive architectural report commissioned by the Government of Catalonia has officially confirmed that Antoni Gaudí designed the Xalet del Catllaràs, a remote chalet in the Catalan mountains. Built between 1901 and 1908 for engineers working at coal mines owned by Gaudí’s patron Eusebi Güell, the building’s attribution was previously suspected but unverified. Researchers used structural analysis of the canted arches, room distribution, and specific lime plastering techniques to link the pyramidal structure to Gaudí’s signature modernist style.
South Africa will not participate in the 61st Venice Biennale following a High Court ruling that dismissed an urgent application by artist Gabrielle Goliath. The dispute began in January when Culture Minister Gayton McKenzie canceled the planned exhibition, "Elegy," citing concerns over its references to Gaza and the killing of Palestinian poet Hiba Abu Nada. The court's decision, delivered just hours before the biennial's submission deadline, effectively leaves the South African pavilion empty for the 2024 edition.
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Cuban artist Rachel Valdés has opened a solo exhibition titled "Light and Matter" at the Gary Nader Art Centre in Miami. The show features a new body of work that explores the phenomenon of diffraction and the concept of afterimages—the optical illusions that persist after a light source is removed. Valdés uses these sensory echoes to bridge the gap between physical light and psychological experience, creating abstract compositions that mimic cellular or internal visions.
ARAR Gallery in Utrecht, Netherlands, is championing contemporary Armenian art on the global stage. Founded by Ashot Khalafyan, the gallery presents a diverse roster of artists who synthesize Armenian cultural heritage with avant-garde practices, refusing to treat the art as an isolated category. The gallery's program includes painters like Hasmik Khalafyan and Anahit Mirijanyan, photographer Aram Khalafyan, and extends to limited-edition wearable art based on original paintings.
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The Tselinny Center of Contemporary Culture has opened in Almaty, Kazakhstan, launching its program with a powerful performance titled 'Barsakelmes.' The event, created by a collective of Kazakh artists, musicians, and poets, used traditional and contemporary elements to summon the ecological and cultural trauma of the Aral Sea's destruction under Soviet rule, framing decolonization as a process of remembrance, rethinking, and advancement.
Victoria Helena, an artist and former CFO, is launching Artist Money Matters, a financial consultancy designed specifically for artists. The service aims to provide independent, informed support to artists navigating a volatile and opaque art economy, addressing common issues like contract clarity, payment terms, and intellectual property.
Artist Ektor Rivera has created a painting titled "The Discovery of Americans" (2025) that reimagines Emanuel Leutze's "Washington Crossing the Delaware" to celebrate Puerto Rican cultural figures, with Bad Bunny at the center. The work was commissioned by Miami art collector Seth Goldberg as a response to conservative criticism over Bad Bunny being selected to perform at the Super Bowl halftime show. The five-by-eight-foot painting places George Washington in the background while Puerto Rican icons including Jennifer Lopez, Ricky Martin, and Roberto Clemente take center stage, with Bad Bunny draped in the Puerto Rican flag. The artwork has garnered over 2.3 million views on Instagram and Facebook.
The Studio Museum in Harlem has temporarily closed due to water damage caused by a sprinkler emergency during a snowstorm. The incident, which affected the gift shop near the entrance, prompted an evacuation of staff and visitors. The museum will remain closed through February 7 for repairs, with all programs and events cancelled and refunds issued to ticket holders. No artworks or galleries were affected, according to a museum representative.
The Studio Museum in Harlem has closed through February 7 after a sprinkler emergency forced visitors to evacuate on Friday. Water poured from a ceiling near the gift shop, creating a large pool on the floor, but no artworks or galleries were affected. The museum initially planned a weekend closure, but repairs proved more extensive after a sprinkler was damaged during preparations for a record-breaking snowstorm that dropped 11 inches on Manhattan.
South Africa's culture minister Gayton McKenzie canceled artist Gabrielle Goliath's selected presentation for the country's national pavilion at the 2026 Venice Biennale, prompting Goliath and curator Ingrid Masondo to file a constitutional court challenge on January 22. The artist's work, *Elegy*, commemorates victims of injustice including women, queer people, and victims of the Herero and Nama genocide, and was to address deaths of Gazan women and children since October 2023. McKenzie described the work as "highly divisive" and canceled the exhibition on January 2, despite an independent committee's binding selection. The minister now plans to replace it with a project by the collective Beyond the Frames titled "Shameless Rebellions: a South African Chorus."
Artist Gabrielle Goliath and curator Ingrid Masondo are filing a court case against South African culture minister Gayton McKenzie after he canceled their planned pavilion for the Venice Biennale. McKenzie objected to a performance from Goliath's "Elegy" series that would address Israel’s war in Gaza, calling it "polarizing," a move Goliath described as censorship. McKenzie later attributed the cancellation to alleged interference by an unnamed foreign nation, with reports suggesting Qatar was involved, though the Qatar Museums ultimately did not purchase the work. The application, to be filed in the South African high court in Pretoria, seeks to have McKenzie's actions declared unconstitutional.
The South African Ministry of Sport, Arts, and Culture has denied censoring its 2026 Venice Biennale pavilion after canceling a proposed artwork by artist Gabrielle Goliath on December 2. The work, part of Goliath's "Elegy" series curated by Ingrid Masondo, addressed sexual assault, femicide, the killings of women and queer people in South Africa, colonial-era genocide in Namibia, and included a tribute to Palestinian poet Hiba Abu Nada. Culture minister Gayton McKenzie initially called the piece "highly divisive" and linked to a polarizing international conflict, but a January 10 statement reframed the cancellation as a safeguard against foreign interference, alleging a foreign country attempted to fund or purchase the work to use the pavilion as a proxy for a geopolitical message about Israel's actions in Gaza.
Israel will officially participate in the 2026 Venice Biennale, two years after its pavilion closed amid protests. The pavilion will be located in the Arsenale rather than its usual Giardini site, which is under construction. Representing Israel is sculptor Belu-Simion Fainaru, a Haifa-based artist and Israel Prize winner, who previously represented Romania at the 2019 Biennale. His pavilion, titled "Rose of Nothingness," will feature an installation about water inspired by poet Paul Celan's concept of black milk, with 16 pipes dripping black water into a pool. The pavilion is curated by Sorin Heller and Avital Bar-Shay. However, the Art Not Genocide Alliance (ANGA) has renewed its protest, calling the pavilion the "Genocide Pavilion" on Instagram and demanding Israel's exclusion from the Biennale.
A Paris art dealer, Bertrand Scholler, cofounder of gallery 55 Bellechasse, was among 10 people found guilty of online harassment for falsely claiming that French First Lady Brigitte Macron was born male. The court issued suspended sentences, fines, and a six-month ban from X, with the defendants also ordered to pay compensation. Scholler, who has over 108,000 followers on X, announced he would close his account for six months in compliance with the court order.
A new exhibition at the Hispanic Society Museum & Library in New York, titled "Spanish Style: Fashion Illuminated, 1550–1700," explores how 17th-century Spanish fashion was governed by strict moral and legal codes. Curator Amanda Wunder highlights that garments like the guardainfante hoop skirt and the ruffled collar were regulated by kings and clergy, with women fined or barred from church for revealing shoulders or wearing lace, and men criticized for effeminate styles. The show features portraits and artifacts that reveal how clothing was used as a tool of social control, power, and gender policing in Habsburg Spain.
Performance artist Thomas Iser was arrested during Art Basel Miami Beach after spray-painting the words “Sorry to disturb, art in progress” on a window of the Miami Beach Convention Center using washable spray chalk. He invited his three-year-old daughter to add marks, and police charged him with criminal mischief. Iser, who has staged similar interventions globally, was handcuffed in front of his child and spent a night in jail before posting $600 bail. Miami-based artist Jillian Mayer witnessed the scene and documented it, noting the artist was in full body paint. Iser has since reframed the arrest as an unintended extension of the performance.
A petition with over 600 signatures is protesting the selection of Prague-based artist Predrag Đaković to represent Serbia at the 2026 Venice Biennale with a project titled “Across Golgotha to Resurrection.” The petition, created by the ZUK Informal Art and Culture Collective, alleges that the selection process was unprofessional and non-transparent, and that commission members are closely linked to President Aleksandar Vučić’s Serbian Progressive Party (SNS). The announcement was reportedly made via Đaković’s Instagram rather than through official channels, and neither the artist nor Serbia’s Ministry of Culture has responded to requests for comment.
Chinese artist Zhang Shangfeng presents a solo exhibition titled “The Discourse of Neo-Mythmaking” at Beijing’s Bonian Space, curated by Yang Xi. The show features recent paintings that blend personal experience with contemporary archetypes to create what the artist calls “neo-myths.” Zhang’s work draws on his time in Xi’an, China, and an exchange program at the University of Arts in Belgrade, using stylized, modernist-influenced imagery to explore themes of self, otherness, loneliness, and interpersonal relationships.
British artist Lucy Sparrow has brought a new felted candy shop installation titled "Sugar Rush" to Art Miami, featuring hand-sewn and hand-painted confectionery treats like Snickers, Peppermint Patties, and Twix, priced at $50 each. The interactive project, presented by London's TW Projects, includes affordable items such as $5 jellybeans and a $10,000 case of Haribo gummies, continuing Sparrow's decade-long tradition of delighting Miami Art Week audiences with her playful felt sculptures. Sparrow's career breakthrough came in 2016 when her installation "Sparrow's Deli" was purchased by 21C Museum Hotels, and she has since created notable projects including a felt bodega in New York and a felt McDonald's in Miami.
Antonio Canova's monumental plaster horse sculpture, *Cavallo Colossale* (1819–21), has been restored and returned to public display after spending 50 years in storage at the Museo Civico di Bassano. The sculpture, acquired by the museum in 1849, had deteriorated in storage since the late 1960s. A multi-year restoration led by Passarella Restauri involved reassembling over 200 fragments, removing 19th-century additions, and installing a new internal metal frame for earthquake protection. The project was funded by Intesa Sanpaolo and the Venice in Peril fund.
A 1987 Bob Ross painting, *Cabin at Sunset*, sold for $1.04 million in a benefit auction hosted by late-night comedian John Oliver, setting a new auction record for the artist. The work was painted during the second episode of the 10th season of Ross's television series *The Joy of Painting*. The online sale, which concluded November 24, included 65 eclectic lots—from presidential wax figures to a signed bucket of dolls—and raised funds for the Public Media Bridge Fund, which supports independent broadcasters amid federal cuts to public broadcasting.
Recent evidence suggests that Mayken Verhulst (ca. 1518–1599), the mother-in-law of Pieter Brueghel the Elder, authored works long attributed to the anonymous Brunswick Monogrammist. A key painting, *Ecce Homo* from the National Museum in Gdańsk, bears a unique double signature combining the initials of her husband, Pieter Coecke van Aelst, with her family name “Bessemer,” indicating her authorial role within the workshop. This discovery, detailed in an essay from the exhibition *The Woman Question 1550–2025* at the Museum of Modern Art Warsaw, challenges centuries of art-historical attribution.
The article examines 'Spanish Style: Fashion Illuminated,' an exhibition at the Hispanic Society Museum in New York curated by Amanda Wunder. It explores how Spanish fashion from the Habsburg dynasty (1516–1700) used luxurious materials like logwood black, gold, silver, silk, and lace to project imperial power and religious austerity. The show features portraits of royalty and nobility, including works by Diego Velázquez and Juan de Pareja, highlighting how clothing served as a uniform of status and belonging rather than individual expression.
Melting ice in Norway has revealed a 1,500-year-old reindeer hunting facility, preserved beneath centuries of snow and ice. Archaeologists from the University Museum of Bergen and Vestland County uncovered wooden mass-capture fences, marked antlers, iron spearheads, arrow shafts, wooden spears, a crafted antler brooch, and a mysterious decorated pine oar at the site on the mountain plateau of Aurlandsfjellet. The trap, composed of hundreds of tree branches stacked into two fences, was likely used around the middle of the 6th century at the start of a cold period, when year-round snow and ice made it unusable yet ideal for preservation.