The article presents a selection of recently published art books, highlighting new releases on artists Tracey Emin, Beatriz González, and Lucian Freud, as well as a second volume on Arab Modernist artists. It details the content of each book, including personal reflections, career overviews, and connections to upcoming exhibitions.
The article examines the life and legacy of Indian modernist painter M.F. Husain, focusing on his final years as a citizen of Qatar. It details his rise as a leading figure of the Progressive Artists' Group, his embodiment of a secular, post-independence Indian identity through his art, and the controversy that forced him into exile after 1996 due to accusations of blasphemy for depicting Hindu deities. He ultimately accepted Qatari citizenship in 2010 and died in London in 2011.
A series of major exhibitions are on view in Doha, coinciding with the Art Basel Qatar event. These include Rirkrit Tiravanija's interactive bakery installation at MIA Park, two major surveys of architect I.M. Pei's work at AlRiwaq Gallery and the Museum of Islamic Art, and a group show titled "we refuse_d" at Mathaf: Arab Museum of Modern Art.
Zona Maco, Latin America's largest art and design fair, has launched its 22nd edition in Mexico City as the anchor of the city's 2026 Art Week. The fair features over 220 galleries from 26 countries, blending contemporary and modern art, design, and photography under the artistic direction of Direlia Lazo.
Several San Francisco museums are experiencing a period of transition and challenge in February 2026. Key exhibitions are closing soon, including "Manet and Morisot" at the Legion of Honor and Suzanne Jackson's first career retrospective at SFMOMA, both ending March 1. New shows are opening, such as "Video Craft" at the Museum of Craft & Design and "Echoes in the Small Mountain: Park Dae-sung and the West Coast" at the Asian Art Museum. Meanwhile, the city's cultural landscape faces strain, with the Mission Cultural Center for Latino Arts suspending operations, representing a significant loss of community programming.
A delegation of senior UK museum directors, including Tim Reeve of the Victoria and Albert Museum, Doug Gurr of the Natural History Museum, Keith Merrin of North East Museums, Sara Wajid of Birmingham Museums Trust, and Laura Pye of National Museums Liverpool, accompanied Prime Minister Keir Starmer on a three-day diplomatic and trade mission to China. The trip aimed to strengthen bilateral relations, with the museum leaders highlighting existing partnerships and exploring new opportunities for cultural exchange and commercial collaboration in the Chinese market.
The Kanal-Centre Pompidou, a major new modern and contemporary art museum in Brussels, will open on November 28. Housed in a converted 1930s Citroën garage, the €230m institution will launch with ten exhibitions, including a 350-work show drawn from the Centre Pompidou's collection in Paris and installations by artists like Otobong Nkanga.
London galleries are launching a packed week of late-January exhibitions, featuring solo shows by Jessica Rankin at White Cube (embroidered paintings and works on paper), R. Crumb at David Zwirner (a survey of his six-decade career in countercultural drawing), Alexandra Christou at Sadie Coles HQ (rarely seen 1990s paintings of Greek life), Christina Mackie at Goldsmiths CCA (interdisciplinary installation), and a group show 'Geometry in Motion' at Stephen Friedman Gallery (exploring geometry and seriality).
The Muscarelle Museum of Art in Williamsburg, VA, has opened “Abstract Expressionists: The Women,” an exhibition featuring nearly 50 paintings by 32 women artists who were pivotal to the Abstract Expressionist movement. Running from January 23 through April 26, 2026, the show draws from the Christian Levett Collection and the FAMM (Female Artists of the Mougins Museum), France, and is organized by the American Federation of Arts. It spans the movement’s development from the late 1930s to 1977, with works by artists such as Lee Krasner, Joan Mitchell, Helen Frankenthaler, and Grace Hartigan, and is structured around four thematic sections covering New York, San Francisco, Paris, and the artists’ own voices.
The Smithsonian’s National Portrait Gallery in Washington, DC, has announced Brooklyn-based artist Kameron Neal as the winner of its 2025 Outwin Boochever Portrait Competition. Neal was honored for his two-channel video installation *Down the Barrel (of a Lens)* (2023), which incorporates surveillance footage from the 1960s and 70s obtained during his residency at New York City’s Department of Records. The work explores the relationship between police and protesters, displaying footage of Vietnam War protesters, the Black Panthers, Martin Luther King Jr., and John F. Kennedy alongside images of police filming. Neal receives $25,000 and a commission to create a portrait for the museum’s permanent collection. Second prize went to photographer Jared Soares, and third prize to painter David Antonio Cruz; the exhibition featuring all 35 finalists runs from January 24 to August 30, 2025.
Albert Barnes, the pioneering US collector who built the Barnes Foundation in Philadelphia, twice declined the opportunity to acquire Vincent van Gogh's iconic 'Starry Night' paintings. Unpublished correspondence in the Barnes Foundation archives reveals that in 1923, agent Frank Washburn Freund offered Barnes *Starry Night over the Rhône* (1888), but Barnes did not pursue it; the painting later went to the Musée d'Orsay. In 1936, the Van Wisselingh gallery offered Barnes *Starry Night* (1889), but he again passed; it was eventually acquired by the Museum of Modern Art in New York. Despite these missed chances, Barnes was the first American to buy a Van Gogh, ultimately owning seven works by the artist, including *The Postman* and *Still Life*.
Baltic Centre for Contemporary Art in Gateshead, England, has opened a major group exhibition titled "For All at Last Return," featuring 13 international artists whose work addresses the ocean crisis. Inspired by Rachel Carson's 1950 book, the show explores marine habitats from the surface to the deep seabed, with works by Bianca Bondi, Kristina Ollek, Joan Jonas, Taloi Havini, Michael Toisuta, Shezad Dawood, Otobong Nkanga, and Michele Allen. The exhibition includes installations, videos, tapestries, and a public program that engages local communities and examines the fragile balance between industry and ecology on Britain's North East coast.
The London Metropolitan Police's Art and Antiques Unit, in collaboration with the Heritage Crime Task Force (HCTF) of the Organisation for Security and Co-operation in Europe (OSCE), is processing over 300 recovered cultural artefacts. The objects—including statues, frescoes, chainmail armour, and stucco heads—were voluntarily handed over by an individual who had kept them for over a decade. Experts are conducting forensic analysis, photography, and archaeological assessment to determine authenticity and origin, with initial findings suggesting items from Cambodia's Angkor Period, the Gandhara region of Pakistan and Afghanistan, the Indus Valley civilisation, and possibly a mosque in Syria or Iraq.
The Rijksmuseum in Amsterdam has announced plans to build a €60 million Modern sculpture garden, called the Don Quixote Pavilion and Garden, on a nearby triangular plot of land. The project is funded by an exceptional donation and long-term art loans from the Don Quixote Foundation, established by billionaire businessman Rolly van Rappard. The garden will feature three pavilions designed by Foster + Partners, with landscaping by Piet Blanckaert, and will display sculptures by Alberto Giacometti, Jean Arp, and Henry Moore. The museum aims to open the space free of charge this autumn, but planning permission has not yet been granted, and the project includes the restoration of three listed buildings.
The Hood Museum of Art in Hanover, New Hampshire, has mounted a dozen exhibitions drawn entirely from its own collection to mark the 250th anniversary of American independence. Curators began planning in 2022, opting for a series of smaller, collaborative shows rather than a single large exhibition. Highlights include "Always Already: Abstraction in the United States," featuring works by Frank Stella and Nampeyo; "American Pop," with Ed Ruscha's "Standard Station, Amarillo, Texas" and Jaune Quick-to-See Smith's "The Rancher"; and "Art Histories/Art Futures," which pairs May Stevens' "Big Daddy Paper Doll" with Michael Naranjo's "He's my brother." The exhibitions reflect the museum's ongoing effort to include art and artists historically left out of the art-historical canon.
The Smithsonian’s National Air and Space Museum has announced that its newly renovated Flight and the Arts Center will open on July 1, 2026, with two inaugural exhibitions: “The Ascent of Rauschenberg: Reinventing the Art of Flight” and “The Art of Air and Space: Interpretations of Flight.” The Rauschenberg exhibition, timed to the artist’s centennial, will present 30 of his artworks related to flight, including the monumental lithograph “Sky Garden (Stoned Moon)” (1969), and will run for one year. The exhibition is curated by Carolyn Russo and features loans from the Hirshhorn Museum, Smithsonian American Art Museum, National Gallery of Art, and the Robert Rauschenberg Foundation.
The Aldrich Museum of Contemporary Art in Connecticut has announced the 40 participating artists for its first-ever Aldrich Decennial, a survey exhibition titled "I am what is around me." Opening June 7 and running through January 10, 2027, the show focuses on artists living and working in Connecticut who have never had a solo museum exhibition in the state. Notable participants include painter Dominic Chambers, multimedia artist Arghavan Khosravi, and novelist-poet Renee Gladman. The exhibition draws its title from a 1917 poem by Wallace Stevens, a longtime Connecticut resident.
The New Museum on Manhattan's Lower East Side will reopen to the public on March 21, 2025, after a two-year closure for an $82 million expansion designed by OMA's Shohei Shigematsu and Rem Koolhaas with executive architect Cooper Robertson. The expansion adds 61,930 square feet—including 9,600 square feet of gallery space, education facilities, artists' studios, and event spaces—bringing the total footprint to 119,600 square feet. The new building will be named after the late philanthropist and curator Toby Devan Lewis. The reopening will feature site-specific commissions by Tschabalala Self, Sarah Lucas, and Klára Hosnedlová, and a building-wide thematic exhibition, 'New Humans: Memories of the Future,' with works by over 200 modern and contemporary artists.
The Smithsonian’s National Museum of African Art has announced “Here: Pride and Belonging in African Art,” an exhibition opening January 23 through August 23, 2026. Featuring nearly 60 works by LGBTQ+ artists from Africa and its diaspora—including Zanele Muholi, Toyin Ojih Odutola, Rotimi Fani-Kayode, Leilah Babirye, Jim Chuchu, and Ṣọlá Olúlòde—the show spans painting, photography, sculpture, installation, video, and digital art. Co-curated by Serubiri Moses and Kevin D. Dumouchelle, the exhibition is built on years of dialogue with artists and communities, centering their voices and lived experiences.
A roundup of major U.S. museum openings and expansions scheduled for 2026 highlights several high-profile projects across the country. These include the Obama Presidential Center in Chicago, the Hip Hop Museum in New York City, and the Lucas Museum of Narrative Art in Los Angeles. Additionally, the Edward W. Kane & Martha J. Wallace Center for Black History opens in Newport, Rhode Island, in June; the San Mateo County History Museum in Redwood City, California, completes a $23.5 million expansion in the fall; and the Rock & Roll Hall of Fame in Cleveland finishes a $175 million expansion adding 50,000 square feet.
The Trump administration has given the Smithsonian Institution a deadline of January 13 to turn over materials related to a review of programming at eight of its museums, as outlined in a December 18 letter from White House officials Vince Haley and Russell Vought. The review stems from a March 2025 executive order titled "Restoring Truth and Sanity to American History," which accused the Smithsonian of promoting a "divisive, race-centered ideology." Smithsonian Secretary Lonnie Bunch noted that some requested materials are not readily available and will require significant effort to compile, while the American Alliance of Museums and the Association of Art Museum Directors have expressed confidence in the Smithsonian's commitment to professional standards.
Annabelle Ténèze, director of the Louvre-Lens, recommends five recently published books that explore the Gothic period and its enduring influence. The books range from the official history of Notre-Dame's restoration after the 2019 fire to an anthology linking Gothic aesthetics to contemporary art, a catalogue for the 'Gothic Modern' exhibition at Vienna's Albertina Museum, a study of 19th-century medieval forgeries tied to the Musée de Cluny, and a Batman comic set in Barcelona's Gothic architecture. These recommendations accompany the Louvre-Lens exhibition 'Gothicisms,' which argues that Gothic art never truly disappeared.
The article examines the current state of the art market, which is in its third consecutive year of contraction. It traces how low interest rates fueled speculative price inflation, leading to a boom in ultra-contemporary art that has now burst, with collectors shifting toward Old Masters. Dealers like Larry Gagosian are now advocating for lowering primary market prices, while private sales stall due to sellers' 'anchoring' to peak valuations. The piece highlights the disconnect between high prices and long-term value, using examples such as auction records being manipulated (e.g., Patrick Drahi's anonymous bidding on a Francis Bacon triptych) and the reality that most artworks in even celebrated collections depreciate.
The Bourse de Commerce in Paris hosts "Minimal," a groundbreaking exhibition curated by Jessica Morgan, director of the Dia Art Foundation. The show centers on five large-scale natural-material works by 81-year-old US artist Meg Webster, while featuring over 100 works by more than 50 artists to challenge the traditional narrative that 1960s-70s Minimalism was exclusively a white, male, American movement. It includes thematic sections on light, balance, and monochrome, a gallery devoted to Japan's Mono-ha movement, and retrospectives of Agnes Martin and Lygia Pape, drawing largely from the Pinault Collection with international loans.
Three major U.S. museums—the Metropolitan Museum of Art, the Walker Art Center, and the Denver Art Museum—are simultaneously exhibiting works loaned from the Tweed Museum of Art at the University of Minnesota Duluth. The loans include pieces by Ojibwe artist George Morrison (1919-2000) for "The Magical City: George Morrison's New York" at the Met; works by Sičáŋǧu Lakota artist Dyani White Hawk for "Dyani White Hawk: Love Language" at the Walker; and a work by Andrea Carlson for "Andrea Carlson: A Constant Sky" at the Denver Art Museum. Tweed director Julie Delliquanti and Duluth Art Institute executive director Christina Woods highlight the significance of sharing the Tweed's collection with national audiences.
The Brandywine Museum in Chadds Ford, Pennsylvania, has opened its "Home for the Holidays" exhibition, featuring a custom-made dollhouse built by Ann Wyeth McCoy and her husband John McCoy from a repurposed tool shed. Two of the dollhouse's six modular rooms are on display, showcasing miniature furniture handcrafted by Ann's brother Nathaniel Wyeth and tiny paintings by Andrew Wyeth, Henriette Wyeth, and Jamie Wyeth. The dollhouse includes hidden family references, such as a miniature six-pack of Coca-Cola and a bottle labeled "Lucy Juice," a nod to benefactor Lucy Farnsworth.
Late December offers a rare slowdown in New York's commercial art world, with most galleries closing around December 20, but museums remaining open. This creates an opportunity for visitors to spend quality time with exhibitions that often get lost in the city's relentless cultural calendar. The article highlights ten must-see museum shows in New York City, including "Wifredo Lam: When I Don't Sleep, I Dream" at MoMA—the first major U.S. survey of the Cuban artist's surreal, decolonial paintings—and "Anish Kapoor: Early Works" at the Jewish Museum, showcasing his pigment sculptures and Vantablack works.
The article analyzes the art market in 2025, describing a year of divergence rather than a single trend. While aggregate sales remained below post-pandemic peaks, the year ended with a billion-dollar New York auction week, a record-setting Klimt portrait, and strong demand for exceptional works. Segments like Old Master auctions and the $1 million–$10 million band saw growth, while the ultra-contemporary segment struggled. Key events included the May marquee auctions in New York, the second edition of Art Basel Paris, and November sales at Christie’s and Sotheby’s, which demonstrated a split-level market with record highs at the top and discipline elsewhere.
Arts Southeast has named Isaac McCaslin as its 2025 Incubator Artist, providing him with a studio, exhibition opportunities, and mentorship. In response to the lack of affordable live-model drawing in Savannah, McCaslin founded the Savannah Open Model Sessions. An upcoming exhibition, "Savannah Figurative," opening January 9, 2026, at Cute Tomatoes Gallery, will showcase completed works and process studies by eight artists, including McCaslin, Phil Musen, and Astoria Jellett, highlighting the importance of figure study in their practices.
The Philadelphia Museum of Art announces a landmark survey of the late American artist Noah Davis (1983–2015), bringing together over 60 works across painting, sculpture, works on paper, and curating. The exhibition marks the final stop of an international tour organized with DAS MINSK in Potsdam, the Barbican in London, and the Hammer Museum in Los Angeles. Highlights include "40 acres and a unicorn" (2007), "Isis" (2009), "Savage wilds" (2012), and the "Pueblo del rio" series (2014). Curated by Eleanor Nairne and Wells Fray-Smith, the show is accompanied by a catalog co-published by Prestel with contributions from Tina M. Campt, Claudia Rankine, and others.