A rare 16th-century atlas, once owned by Queen Mary I of England, is being offered for $1.6 million at the New York Antiquarian Book Fair. The volume, which contains unique early maps of Britain, was acquired by dealer Barry Lawrence Ruderman Antique Maps Inc. for $227,000 just two years ago and is now presented as a major artifact of Tudor history.
Writer and theorist Nadia Asparouhova has published a new book titled *Antimemetics: Why Some Ideas Resist Spreading*, which introduces the concept of "anti-memes"—cultural phenomena whose influence derives from being hard to find or difficult to understand, rather than from popularity and visibility. The book is released by the Dark Forest Collective, a group of artists and thinkers inspired by Yancey Strickler's metaphor of the internet as a "dark forest," where meaningful exchange retreats to private spaces away from commercial and contentious public platforms. Artnet News critic Ben Davis reviews the book, connecting its ideas to contemporary art that deliberately operates below the radar.
NYU Steinhardt's Department of Art and Art Professions is presenting its 2026 MFA Thesis Exhibitions in two parts at the 80WSE Gallery in Greenwich Village. The first exhibition, titled 'Hoodwinked,' runs from April 1 to April 18 and features works by Nicholas Koby, Richard Medina, Roselynn Sadaghiani, Mario Saponaro, and Brooke Schneider. The second, 'Eggshells,' runs from May 6 to May 23 and showcases artists Ariel Barish, Christopher Chan, Mélanie Dumas, Roxie de Là, and Fan Qi.
Material gewordene Geschichte
The German Pavilion at the 61st Venice Biennale has been transformed by artist Sung Tieu, who clad its Nazi-era facade with millions of small marble tiles to replicate the look of a prefabricated East German apartment block—specifically the Gehrenseestraße housing complex in Berlin where she spent part of her childhood. Inside, the exhibition features glass casts of her mother's limbs, aluminum beams evoking cramped living quarters, and works by the late Henrike Naumann, all curated by Kathleen Reinhardt to explore bureaucracy, migration, and systemic violence.
Artists Rhett Tsai and Chang-Ching Su have presented tandem projects at Chicago's Watershed Art & Ecology, inspired by a joint research trip to fishing villages on China's Huangqi Peninsula. Their works explore the practice of light-lure fishing, with Su creating photographic exposures using the green LED lights from squid-fishing boats and translating satellite fishing data into sculptural installations. Tsai's contributions include CGI films and a VR video that depict the rhythms and social realities of coastal communities, focusing on the Tanka boat-dwelling people.
The Museum of Art and Photography (MAP) in Bengaluru is hosting 'Paper Gardens,' an exhibition that re-examines the history of botanical art through the lens of British colonialism. While the show features visually stunning hand-coloured lithographs of rhododendrons and medicinal plants, it juxtaposes these aesthetics with the harsh realities of the East India Company’s surveys. The exhibition highlights how local Indian artists and knowledge keepers were often marginalized or left anonymous, even as their expertise was essential to the scientific and commercial success of the British Empire.
Victorien Bornéat has published a manifesto arguing that French cultural democratization policy, rooted in André Malraux's vision of making masterworks accessible to all, has failed. He cites budget cuts by regional presidents Laurent Wauquiez and Christelle Morançais, police raids on bookshops like Violette and Co, and statistical studies showing that working-class audiences still do not spontaneously attend theaters, museums, or opera. Bornéat contends that the policy's emphasis on direct confrontation with canonical works ignored the need for cultural codes and institutional literacy, creating an exclusion that politicians now exploit for electoral gain.
Christine Tien Wang and Rachel Youn presented a two-person exhibition titled "Factory Doomscroll" at Night Gallery in Los Angeles. The show ran from February 21 to April 4, 2026, and was documented extensively with 82 installation images.
An Hoang at Halsey McKay
An Hoang has opened a solo exhibition titled "Garden Poems" at Halsey McKay Gallery in East Hampton. The show, running from February 7 through March 29, 2026, features a collection of new works, documented by 33 images in the announcement. This presentation marks a continued collaboration with the gallery, highlighting Hoang's latest artistic developments.
Edgar Calel, a Guatemalan artist born in 1987, is the subject of an exhibition at Kunsthalle Bern. His work draws on the rituals and traditions of his native Guatemala, focusing on the working conditions and environmental impact of export-oriented agricultural industries, particularly palm oil and coffee plantations that dominate the country's economy.
The Meadows Gallery at the University of Texas at Tyler has announced an open call for its 41st Annual International Exhibition, scheduled to run from January 20 to February 27, 2026. Interdisciplinary artist Alicia Eggert, an associate professor at the University of North Texas, will serve as juror. Artists over 18 may submit up to three two-dimensional works created within the last three years, with a $35 fee. Entries are due November 12, 2025, and selected works may be purchased for the university's permanent collection.
The international jury of the 61st Venice Biennale announced it would exclude from prize consideration countries whose leaders are charged with crimes against humanity by the International Criminal Court, specifically targeting Russia and Israel. This prompted the Italian culture minister to send inspectors to the Biennale's offices, leading the jury to resign. The Biennale then replaced the Golden Lion with "Visitors' Lions" prizes voted by ticket-holders, immediately making Russia and Israel eligible again. The article traces this crisis to the Biennale's historical structure under Mussolini's 1930 Royal Decree, which established the national pavilion system as a diplomatic concession system designed to serve state power, and notes the recent acceptance of a €50 million donation from Qatar for a new permanent pavilion in the Giardini.
Surrey Art Gallery in British Columbia is hosting a series of events throughout May 2026, centered on the exhibition "In the Shadow of the Pavilions: Expo 86 and Contemporary Art." Highlights include a Family Art Jam on May 3, an artist talk with Leah Murray on May 7, a symposium titled "Expo Lines: Expo 86 and Contemporary Art" on May 9, and a curator’s tour with Jordan Strom on May 28. The events explore the artistic legacy of Vancouver’s 1986 world’s fair, which drew 22 million visitors, and feature works by over 50 artists including Bill Reid, Robert Davidson, Debra Sparrow, and Paul Wong.
Sands China has officially debuted its Sands Gallery booth at Art Central 2026, Hong Kong's prominent international art fair. The exhibition features contemporary works by three emerging Macao artists—Lei Ieng Wai, Leong Chi Mou, and Dor Lio Hak Man—paired with historical artifacts from the Iec Long Firecracker Factory. This marks the first time a Macao integrated resort operator has participated as an Associate Partner at the fair, signaling a significant push to elevate Macao's local art scene on a global stage.
The Lucas Museum of Narrative Art in Los Angeles has announced details for its inaugural exhibition "Star Wars in Motion," set to open on September 22. The show will feature props, costumes, and vehicle designs from the first six Star Wars films, including Luke's Landspeeder and General Grievous' Wheel Bike, as part of a broader lineup of about 20 inaugural exhibitions spanning visual storytelling from ancient art to modern film. The 300,000-square-foot museum, founded by George Lucas and Mellody Hobson, will display over 1,200 artworks across 100,000 square feet of gallery space, with additional galleries dedicated to comic art, manga, children's literature, and works by artists such as Thomas Hart Benton, Beatrix Potter, Jack Kirby, Alison Bechdel, Frank Frazetta, Norman Rockwell, Diego Rivera, Dorothea Lange, and Gordon Parks.
The Brown Arts Institute has launched the 46th Annual Student Exhibition at the Granoff Center for the Creative Arts, featuring a diverse array of multimedia works, sculptures, and installations. Juried by artists Tarik Bartel and Jinghong Chen, the exhibition showcases student talent across various disciplines, with Alex Schupak taking first place for his multimedia sculpture "Impression/Expression." The show highlights themes ranging from the reliability of photographic truth to explorations of gender dysmorphia and childhood.
The article, presented as an advice column by consultants Chen & Lampert in ARTnews, addresses two anonymous letters from art-world professionals. The first letter is from a curator at a major museum who feels underpaid, invisible, and constrained by an ethics policy that prevents freelance work, while colleagues at smaller institutions enjoy more freedom. The second letter is from a veteran graphic designer and illustrator, active since the 1960s, who laments losing commercial clients to younger, cheaper talent using AI and smartphones. The consultants respond with sharp, critical advice: they tell the curator to consider collective action with colleagues to push for institutional reform, and advise the designer to leverage their legacy and experience rather than accept obsolescence.
A new European Union regulation, Regulation (EU) 2019/880, will take effect on June 28, requiring thorough provenance documentation for cultural objects over 200 years old (or 250 for archaeological items) imported into the EU. Importers must provide material evidence proving lawful acquisition from the country of origin, including the object's origin, export date, and chain of ownership, or face potential seizure. The rule builds on a 2019 anti-trafficking law and has sparked concern among EU-based dealers, who warn it could stifle the market for antiquities and non-European art.
The article examines the ongoing challenge of preventing the illicit trade in cultural property looted from conflict zones. It discusses the Hague Convention of 1954 and its protocol, which require signatory countries to prevent theft and pillage during armed conflict and to seize and repatriate unlawful exports. However, the protocol only applies to situations of 'occupation,' leaving a gap for looting that occurs in the chaos of war beyond formal occupation. The article also notes UN Security Council Resolutions that restrict unlawfully removed cultural property from Iraq and Syria, but no similar consensus exists for countries like Afghanistan, Libya, Ukraine, Lebanon, Yemen, Sudan, and Iran. EU Regulation 2019/880 is highlighted as a measure that prohibits introducing goods removed unlawfully from their place of origin into the EU, though its scope has expanded beyond its original anti-terrorist financing purpose.
The Surrey Art Gallery in British Columbia is presenting a new exhibition titled "In the Shadow of the Pavilions: Expo 86 and Contemporary Art," running from April 18 to June 7, 2026. The show features over 50 artists, including a project by Michael de Courcy who took 1,700 photos of Expo 86 visitors, and works by Henri Robideau, a self-described 'Gianthropologist' who photographed giant roadside attractions across Canada in the 1980s.
Dirimart presents Olivia Sterling's first solo exhibition in Istanbul, titled 'Jelly,' at its Pera location from May 7 to June 14, 2026. The show explores themes of race, power, and desire through scenes involving food, the body, and stains, using fruit and dark colors as metaphors for consumption and objectification. Sterling's paintings incorporate letters that expose how race is constructed through language, while the title 'Jelly' evokes flexibility, fluidity, and a grotesque bodily quality that mirrors the instability of identity and social conventions.
This article appears to be a promotional or editorial piece about the artwork "PixCell-Elk#3, 2026" by artist Kohei Nawa. It describes a partnership with leading galleries to showcase artists, artworks, and exhibitions, with membership vetted by industry peers. The text also highlights the role of art advisors providing access to influential galleries, collectors, and auction houses, while celebrating contemporary art through editorial content.
Jasmine Lezema, an art history major and museum intern at the Janet Turner Print Museum, has organized a peer-led exhibition tour titled "Through an Art Historian’s Lens," scheduled for Wednesday from 5 to 5:30 p.m. The tour focuses on printmaking at Chico State and encourages students to engage deeply with artworks. Lezema selected three pieces from the current exhibition that personally resonated with her, drawing on her art history training to interpret symbolism, materials, and context. The museum’s director, Rachel Skowoski, and education assistant, Dylan Charlton, emphasize that student interns are empowered to shape programming around their interests, making this tour a product of that philosophy.
Artist Fritz Horstman has opened a solo exhibition titled 'Folded Worlds,' featuring his Folded Cyanotypes and a new series of Folded Palladiums. These camera-less photographic works are created by exposing folded, chemically coated paper to sunlight or UV light, resulting in abstract images that suggest crystalline landscapes and architectural forms.
French artist Julien Carreyn is preparing his sixth solo exhibition, titled 'Exposition personnelle,' at the Crèvecoeur gallery in Paris. The show will feature a selection of small black-and-white photographs centered on themes of holidays and family, a possible miniature painting, a long, non-linear text, and a series of Polaroids depicting jewelry, installed across the gallery's spaces at 5 and 7 rue de Beaune.
Two Rooms gallery in Auckland presents 'Past Perfect,' a group exhibition featuring works by Gretchen Albrecht, Noel Ivanoff, John Nixon, Jeena Shin, and Helen Calder. The show explores geometric abstraction and the interplay of light, shadow, and transparency through works produced over the last several decades.
The Vantaa Art Museum Artsi has launched "Empathy," a multifaceted exhibition exploring the psychological, social, and technological dimensions of emotional connection. The show features diverse works that examine how facial expressions and gestures communicate feelings, while also addressing the power dynamics of who is allowed to tell their story. A central highlight is Ali Akbar Mehta’s immersive installation, which utilizes an archive of 30,000 video clips and XR technology to analyze how digital algorithms and visual overexposure to violence affect human compassion.
Berlin-based artist Matthias Esch presents a survey of his painterly practice in the solo exhibition 'Slice Through Reality' at Kutlesa in Goldau, Switzerland. The show features works from several years that explore the tension between rigid visual systems and deliberate disruptions, utilizing patterns and schematic forms that are systematically 'sliced' or broken open.
Giant Runt, an artist-run gallery in Fort Worth, Texas, has announced an open call for a 2026 juried group exhibition. One selected artist will receive a $500 prize and a solo exhibition at the gallery in 2027. The call is open to artists of all media and locations, with the only requirement that artworks fit through a standard seven-by-three-foot door. Co-owners Cosmo Jones and Max Marshall will jury the show, which is scheduled to run from February 23 to April 11, 2026. Applications are due January 31, 2025.
The Smithsonian’s National Museum of Asian Art (NMAA) in Washington, DC, has voluntarily returned three sculptures to the Cambodian government after an internal provenance investigation determined the objects were likely removed from Cambodia during the country’s civil war (1967-75). The returned artifacts include a tenth-century sandstone head of Harihara, a tenth-century sandstone sculpture of the goddess Uma, and a bronze statue of Prajnaparamita from around 1200. The museum’s director, Chase F. Robinson, stated that strong evidence linked the pieces to problematic dealers and a context of war and violence, and that no documentation supported their lawful export. The objects were donated to the NMAA by Arthur M. Sackler and Gilbert and Ann Kinney without proper provenance papers.