The Los Angeles County Museum of Art (LACMA) has unveiled its new David Geffen Galleries, featuring an unconventional open-plan design that encourages non-linear exploration. The building's layout, which eschews traditional chronological narratives in favor of free-floating associations, has sparked debate among critics regarding its navigability and the restoration of key works like Alexander Calder’s "Three Quintains (Hello Girls)."
The Georgia O’Keeffe Museum has launched Access O’Keeffe, a comprehensive digital catalogue raisonné that makes over 2,000 of the artist’s works available to the public for free. Based on the definitive 1999 scholarship by Barbara Buhler Lynes, the platform includes paintings, sketches, and letters, featuring advanced search tools that allow users to filter by color, medium, and theme. The project was completed despite a significant funding scare when a federal grant was briefly rescinded during the Trump administration before being restored via legal action.
Art critic Paddy Johnson addresses the common dilemma faced by unrepresented artists regarding the necessity of attending major art fairs. While acknowledging that fairs can be physically exhausting and prohibitively expensive, Johnson argues that their true value lies in strategic information gathering and long-term career planning rather than immediate sales or representation.
Agosto Machado, a seminal performer, archivist, and fixture of New York’s downtown queer arts scene, has passed away. Known as a "keeper of secrets" and a vital connector within the avant-garde community, Machado was a muse to filmmaker Jack Smith and a lifelong friend to Warhol superstar Mario Montez. His life spanned the height of the East Village performance era, where he transitioned from a quiet observer to an essential participant in the preservation of underground history.
The Metropolitan Museum of Art has appointed Oluremi C. Onabanjo as its new curator of photographs, bringing her expertise in African and Black diasporic histories from MoMA. This announcement leads a series of industry shifts, including Melissa Chiu’s move from the Hirshhorn to direct the Guggenheim, and the relocation of the influential gallery 47 Canal to Chelsea. Additionally, the New York Foundation for the Arts distributed nearly $500,000 in grants to 129 artists and organizations in Queens.
The Solomon R. Guggenheim Museum is hosting "Contours of a World," a retrospective dedicated to Gabriele Münter, a co-founder of the Blue Rider group. The exhibition moves beyond the shadow of her long-time partner Wassily Kandinsky, showcasing her distinct approach to German Expressionism through photography, intimate domestic scenes, and vibrant landscapes. Unlike her contemporaries who leaned toward total abstraction, Münter utilized bold outlines and layered compositions to create a dynamic, phenomenological experience of seeing.
The feminist art collective Hilma’s Ghost, founded by artists Dannielle Tegeder and Sharmistha Ray, is reclaiming the role of alternative spiritualities and the occult within art history. Sparked by the 2018 Hilma af Klint retrospective at the Guggenheim, the collective emerged during the COVID-19 pandemic as a research-based project that bridges artmaking with esoteric practices like tarot, witchcraft, and neo-tantric cosmologies. Through workshops and collaborative paintings, the duo explores how women and queer artists have historically been erased from the canon due to their unconventional, mystical methods.
Refik Anadol and Efsun Erkılıç will open DATALAND, a museum dedicated to AI art, in Los Angeles on June 20, 2026. Located in the Grand LA complex designed by Frank Gehry, the 25,000-square-foot venue will feature five gallery spaces plus 10,000 square feet for supporting technology. Its inaugural exhibition, "Machine Dreams: Rainforest," created by Refik Anadol Studio, uses AI trained on ecological datasets to generate sensory experiences, including a version of Anadol's Infinity Room with a 1987 recording of an extinct Hawaiian bird and AI-generated scents. Membership starts at $350 per year.
NEON, the Athens-based contemporary art initiative founded by collector Dimitris Daskalopoulos, will conclude its activities later this year after 14 years. Its final project is a trilogy of exhibitions by artist Michael Rakowitz at the Acropolis Museum, with the last installment set for 2026. The organization also announced it has fulfilled its cultural and social mission.
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).
Refik Anadol's Dataland, billed as the world's first A.I. art museum, will open on June 20 in Los Angeles after more than two and a half years of planning. Founded by Anadol and his partner Efsun Erkiliç, the museum is housed inside the Frank Gehry-designed Grand L.A. complex and features five galleries. Its debut exhibition, "Machine Dreams: Rainforest," uses ecological data processed through Anadol's Large Nature Model to create digital sculptures simulating possible rainforests. The museum, designed by Gensler, dedicates nearly a third of its 35,000 square feet to operational hardware and runs on 87 percent carbon-free energy.
"Man muss der Jury keine Träne nachweinen"
The entire jury of the Venice Biennale resigned shortly before the opening, prompting criticism of Biennale President Pietrangelo Buttafuoco. Italian Culture Minister Alessandro Giuli accused Buttafuoco of pursuing a misguided "pacificist fantasy" by readmitting Russia to the six-month exhibition, calling it failed "side foreign policy." Commentators in German media, including Niklas Maak (FAZ) and Marcus Woeller (Die Welt), see the resignation as a symptom of a crisis in the art world, with the jury having acted as a "political tribunal" by pre-judging artists based on nationality, particularly regarding Israel. The Biennale leadership defended inclusion, but the standoff has caused significant "image damage." Separately, Dirk Knipphals (wochentaz) delivers a scathing review of Wolfram Weimer's first year as cultural policy commissioner, accusing him of empty rhetoric and failing to counter right-wing cultural politics. Juliane von Mittelstaedt (Der Spiegel) reports on Saudi Arabia's use of a spectacular new art museum in Riyadh as a stability narrative amid regional conflict.
Le Journal des Arts reports on a new exhibition titled "La nature morte" (Still Life), presented by a gallery as a continuation of its previous monographic shows on Boetti and Burri and the thematic exhibition "On Fire." The exhibition focuses on the classical genre of still life, positioning it as a field of experimentation that accompanies the renewal of painting in the 20th century. It brings together three artists—Picasso, Morandi, and Parmiggiani—who, though not from the same school or direct lineage, each explore the subject through distinct artistic languages: Picasso asserts the presence of the object, Morandi delves into its meditative and silent dimension, and Parmiggiani pushes the reflection toward a form of disappearance. The show is curated by Cécile Debray, president of the Musée national Picasso-Paris, and involves collaborations with institutions such as the Museo Morandi.
Cécile Debray, president of the Musée national Picasso-Paris, discusses a rare collaboration with galleries to present a three-artist exhibition in Venice during the Biennale. The show brings together Pablo Picasso, Giorgio Morandi, and Claudio Parmiggiani around the theme of the object and still life, highlighting unexpected philosophical and poetic connections. Debray explains how the selection of 14 Picasso works balances iconic pieces with lesser-known ones, including sculptures, to create a dialogue with Morandi's rigorous, serial approach and Parmiggiani's metaphysical art.
The article explores the enduring relevance of still life and vanitas in contemporary art, tracing their evolution from the biblical proclamation "Vanity of vanities; all is vanity" through modern masters like Paul Cézanne, Pablo Picasso, and Giorgio Morandi to contemporary practitioners such as Claudio Parmiggiani. It highlights how artists continue to use everyday objects—compotes, skulls, pitchers, apples—as vehicles for formal experimentation and philosophical reflection, with still life serving as a minimalist device that allows infinite plastic research.
Qui sont les membres du jury de la Biennale de Venise ?
The 61st Venice Biennale, opening May 9, 2026, has announced its international jury, which is composed entirely of women. The five members are Solange Oliveira Farkas (president), Zoe Butt, Elvira Dyangani Ose, Marta Kuzma, and Giovanna Zapperi, hailing from Brazil, Thailand, Spain, the United States, and Switzerland. Their backgrounds span the Global South, feminist studies, and transnational curatorial practices.
Les Rousseau américains de retour à Paris
The Musée de l’Orangerie in Paris is hosting a landmark exhibition titled "Henri Rousseau, l’ambition de la peinture," featuring 50 works by the self-taught master. The show is distinguished by a historic loan from the Barnes Foundation in Philadelphia, which has sent nine paintings to France for the first time since they were acquired a century ago by Albert Barnes. A highlight of the exhibition is the rare gathering of three "manifesto paintings"—The Sleeping Gypsy, Unpleasant Surprise, and The Snake Charmer—displayed together in a dedicated gallery.
Réouverture du Palais de la Découverte
The Palais de la Découverte in Paris has officially reopened its doors to the public following an extensive renovation period. The institution returns with a refreshed program that bridges the gap between scientific inquiry and artistic expression, featuring a series of new installations and collaborative projects.
Melissa Chiu nommée à la tête du Guggenheim New York
Melissa Chiu has been appointed as the new director of the Guggenheim Museum in New York, effective September 1. Currently the head of the Hirshhorn Museum and Sculpture Garden in Washington, D.C., Chiu succeeds Mariët Westermann, who will transition to a strategic role overseeing the Solomon R. Guggenheim Foundation’s international network. Chiu brings a proven track record of fundraising, having secured nearly $250 million during her tenure at the Hirshhorn, and is credited with significantly increasing attendance and diversifying the museum's collections.
Décès de Christine Ruiz-Picasso
Christine Ruiz-Picasso, the daughter-in-law of Pablo Picasso and a pivotal figure in preserving his artistic legacy, has passed away. As the widow of Paul Picasso, the artist's eldest son, she played a foundational role in the management of the Picasso estate and was instrumental in the creation of major institutions dedicated to his work.
La National Gallery s'agrandit avec Kengo Kuma
The National Gallery in London has commissioned renowned Japanese architect Kengo Kuma to lead a significant expansion and redesign project. The initiative aims to modernize the museum's infrastructure and create more fluid, accessible spaces for its world-class collection of European paintings.
Les mondes invisibles d’Hilma af Klint, pionnière de l’abstraction, enfin révélés au Grand Palais
The article reveals the long-overlooked story of Hilma af Klint (1862–1944), the Swedish artist who created abstract paintings years before Kandinsky, Mondrian, and Malevich, yet kept her work secret until 20 years after her death. Her monumental output—1,600 abstract paintings and 124 notebooks—was first publicly shown in 1986 at the Los Angeles exhibition 'The Spiritual in Art, Abstract Painting, 1890–1985'. A 2019 retrospective at the Guggenheim Museum in New York drew 600,000 visitors, a museum record. Now, the Grand Palais in Paris presents the first-ever French exhibition of her work, focusing on her 'Paintings for the Temple' cycle (1906–1915), a series of 193 works that synthesize her spiritual quest.
Quels expos et musées voir en nocturne en ce mois de mai à Paris ?
Paris museums and galleries are extending their hours for evening visits in May, with many offering late-night openings on specific weekdays. The Palais de Tokyo is open until 10pm daily except Tuesday, the Musée du Luxembourg stays open until 10pm on Mondays, and the BnF Richelieu site is open until 8pm on Tuesdays. The Fondation Cartier pour l'art contemporain, newly relocated near the Louvre, welcomes visitors until 10pm on Tuesdays, while the Jeu de Paume stays open until 9pm on Tuesdays. On Wednesdays, the Musée du Louvre extends its hours until 9pm, alongside other museums. Current exhibitions include shows dedicated to Leonora Carrington, Martin Parr, and Nan Goldin, among others.
Beaux Arts Magazine presents a feature on ten artworks that celebrate labor, from ancient Egyptian frescoes to modern depictions of workers. The article highlights pieces such as Pieter Brueghel the Elder's "The Harvesters" (1565), Diego Velázquez's "The Spinners" (c. 1657), and Johannes Vermeer's "The Milkmaid" (c. 1660), examining how artists have elevated peasant, artisan, and domestic work from background detail to central subject. The feature coincides with the Musée d'Orsay's nationwide initiative "100 œuvres qui racontent le travail" (100 Works That Tell the Story of Work), which explores the history and representation of labor in art.
The Museum of Fine Arts (MSK) in Ghent is hosting the exhibition "Inoubliables" (Unforgettables), on view until May 31, which highlights the work of women artists from the 17th and 18th centuries in the former Netherlands region. The show features about 40 female creators active between 1600 and 1750, including painters like Michaelina Wautier, Judith Leyster, and Rachel Ruysch, working in genres from portraiture and still life to engraving, lacemaking, and paper cutting. The exhibition aims to restore these women to their rightful place in art history.
Un face-à-face titanesque réunit les corps vibrants de Rodin et Michel-Ange au Louvre
The Louvre has mounted an exhibition that places the works of Auguste Rodin in direct dialogue with those of Michelangelo, focusing on the profound influence of the Renaissance master on the 19th-century sculptor. Key sculptures like Rodin's 'Adam' and 'The Age of Bronze' are juxtaposed with Michelangelo's 'Dying Slave' and 'Rebellious Slave', highlighting shared themes of contorted male forms and masterful use of contrapposto.
Tout ce qu’il faut savoir sur Henri Matisse, star du Grand Palais ce printemps
The Grand Palais in Paris is hosting a major retrospective focusing on the final masterpieces of Henri Matisse, the pioneer of Fauvism. The exhibition highlights the artist's late-career reinvention between 1941 and 1954, featuring his innovative gouache cut-outs, illustrated books, and stained glass designs created while he was bedridden in Nice.
À Genève, la renversante leçon d’histoire de l’art de John M Armleder
The Musée d’Art et d’Histoire (MAH) in Geneva has unveiled its sixth "carte blanche" exhibition, curated by the influential Swiss artist John M Armleder. Following in the footsteps of figures like Ugo Rondinone and Wim Delvoye, Armleder was invited by museum director Marc-Olivier Wahler to mine the institution's vast collection of 800,000 objects. The resulting show defies traditional museum hierarchies by juxtaposing fine art with decorative objects, such as silver-topped corks and musical instruments, alongside Armleder's own prolific output of multiples.
Alexander Calder, génial sculpteur de l’air et de la couleur célébré à la fondation Vuitton
The Fondation Louis Vuitton is hosting a major celebration of Alexander Calder, the American sculptor who revolutionized 20th-century art by introducing movement and play into the medium. The article traces Calder's formative years in Paris starting in 1926, where the young engineer-turned-artist gained avant-garde fame with his 'Cirque Calder'—a miniature circus of wire and fabric figurines. This period marked his transition from traditional painting to his signature 'drawings in space,' featuring wire sculptures of figures like Josephine Baker that projected dancing shadows and captured the kinetic energy of the era.
Nos 5 expos coups de cœur à voir en galeries ce printemps à Paris
Paris is experiencing a vibrant gallery season this spring, marked by the arrival of major international players and the rediscovery of overlooked artists. Highlights include the opening of Singapore’s Cuturi Gallery at the Palais-Royal with a cross-disciplinary show on decadence, and the London-based Waddington Custot establishing a new space in Saint-Germain-des-Prés with an exhibition bridging Nabis masters and contemporary painters. Other notable shows include a first-ever public look at the surrealist collages of Roland Sig and a dialogue between neo-impressionism and contemporary art at Galerie Pavec.