Tracey Emin is the subject of a major retrospective at Tate Modern titled 'A Second Life,' which spans her career from her first solo show in 1993 to recent works. The exhibition is structured thematically around pivotal life events and includes a documentary addressing her 2020 bladder cancer diagnosis and subsequent surgery.
Amy Sherald's traveling mid-career survey, 'American Sublime,' has set a new attendance record at the Baltimore Museum of Art (BMA), drawing 63,000 visitors as of early February with an expected final total of 75,000. This makes it the museum's most-attended show since 2000. The exhibition features nearly 50 grisaille portraits of Black Americans and was previously shown at SFMOMA and the Whitney Museum of American Art.
The Baltimore Museum of Art (BMA) has set a new attendance record with its current exhibition, 'Amy Sherald: American Sublime,' which has drawn 52,597 visitors since opening on November 2. The previous record was held by the 'Matisse/Diebenkorn' show in 2016-2017 with about 45,700 visitors. The exhibition, a mid-career survey of Sherald's work, runs through April 5 and is projected to reach 70,000 attendees. It originated at the San Francisco Museum of Modern Art and traveled to the Whitney Museum of American Art before arriving in Baltimore, after Sherald canceled its planned stop at the National Portrait Gallery due to censorship concerns.
Art SG 2026, the fourth edition of Singapore's annual art fair, will take place from January 22 to 25 at Marina Bay Sands, featuring over 100 galleries from more than 30 countries. Fair director Shuyin Yang has introduced several new initiatives, including the Wan Hai Hotel project by Shanghai's Rockbund Art Museum, a South Asian art platform sponsored by TVS Motor, and the integration of S.E.A. Focus into Art SG. Notable guests include the Tate patrons group, curators from Palais de Tokyo and LUMA Arles, and LACMA director Michael Govan, who will launch the museum's Southeast Asia acquisition program.
The Institute of Contemporary Art Miami has opened "Richard Hunt: Pressure," the largest survey to date of American sculptor Richard Hunt (1935-2023), focusing on his work from 1955 to 1989. The exhibition traces Hunt's evolution from self-taught welder at the School of the Art Institute of Chicago to a master of welded steel, featuring early pieces like *Telescopic Construction* (1955) and *Hero's Head* (1956), the latter created after attending Emmett Till's open-casket funeral. Co-curated by Gean Moreno and Alex Gartenfeld, the show highlights Hunt's negotiation between formal innovation and social awareness, with works that balance beauty and brutality.
The Saint Louis Art Museum has opened “Anselm Kiefer: Becoming the Sea,” an exhibition featuring 40 works by the German artist from the 1970s to the present, including over 20 pieces made in the last five years and five monumental site-specific paintings. The show highlights Kiefer's 1991 journey up the Mississippi River during a visit to St. Louis, a formative trip that inspired new works such as the 30-by-27-foot painting *Missouri, Mississippi* (2024), which depicts the artist encountering the Melvin Price Lock and Dam in Alton, Illinois. The exhibition also includes pieces like *Die Milchstraße* (1985-87) and two works dedicated to beat poet Gregory Corso, whose lines about eternal life gave the show its title.
Art Collaboration Kyoto (ACK) opened its fifth edition at the Kyoto International Conference Center, running until 16 November. The fair, launched in 2021 to connect Japanese and international galleries, has grown to a record 72 exhibitors, half from overseas. Special exhibitions are staged at historic temples across Kyoto, including shows by Isabella Ducrot at Kousei-in, Carrie Yamaoka at Manshu-in, and Shio Kusaka with Jonas Wood at Ryosoku-in. Sales were strong on opening day, with galleries like KAYOKOYUKI, Kurimanzutto, Mendes Wood DM, and TARO NASU reporting brisk transactions.
The Art Gallery of Ontario (AGO) in Toronto has received a major gift of 474 artworks from the late collectors Carol and Morton Rapp, including prints, photographs, sculptures, and artist books by 203 artists. Highlights include 13 screenprints by Andy Warhol, eight works by Robert Rauschenberg, nine by Jasper Johns, and pieces by Roy Lichtenstein, Barnett Newman, Claes Oldenburg, Lee Bontecou, and David Hockney, as well as contemporary works by Kara Walker, William Kentridge, Yinka Shonibare, and Rachel Whiteread. The Rapps, who began collecting in the 1960s, had a long relationship with the AGO dating back to 1966.
The article is a first-person reflection by Jesuit artist Nick Leeper on the 2024 Biennale d'Art Contemporain Sacré in Menton, France. Leeper describes entering the Grand Hôtel des Ambassadeurs expecting a traditional sacred art show but finding instead a mix of abstract sculptures, Venetian glassworks, and works by Man Ray, alongside more conventional religious pieces. The biennale, founded in 2019 by Liana Marabini, features 180 artists from 29 countries exploring the theme of "forgiveness," including major names like Damien Hirst, Yayoi Kusama, and Gerhard Richter, as well as artists from religious orders. Leeper recounts how visitors at the opening asked what makes such diverse works sacred.
The Portland Art Museum (PAM) is opening a new 24,000-square-foot glass structure called the Mark Rothko Pavilion on November 20, 2025. The $111 million expansion, funded almost entirely by private donations, connects the museum's two existing buildings—the original travertine building designed by Pietro Belluschi and a former Masonic temple—above ground for the first time. The pavilion is named after the artist Mark Rothko, who had his first museum exhibition at PAM in 1932 under his birth name Marcus Rothkowitz. The project was designed by Chicago firm Vinci Hamp Architects and Portland's Hennebery Eddy.
Fondation Cartier pour l’art contemporain will open its highly anticipated new Paris gallery at Place du Palais-Royal, opposite the Louvre, on 25 October 2025. The inaugural exhibition, Exposition Générale (running until 23 August 2026), features over 600 works by more than 100 artists, drawn from the foundation's collection of around 4,500 pieces. Designed by Italian studio Formafantasma, the show is organized into four thematic sections—Machines d’architecture, Être nature, Making Things, and un monde réel—and includes works by Sarah Sze, Rinko Kawauchi, Patti Smith, James Turrell, Vija Celmins, Joan Mitchell, Damien Hirst, and others. The building, part of the former Louvre des Antiquaires complex, was reconfigured by architect Jean Nouvel, adding 6,500 sq. m of exhibition space with a library, auditorium, and restaurant.
EJ Hill is performing 'Yearning for an Absolute' (2025), the centerpiece of his solo show at 52 Walker in New York, where he kneels on a church kneeler for eight continuous hours each day without food, water, or breaks. The performance runs from June 25 to September 13, totaling 56 days across 12 weeks, and completes a "performance triptych" with his earlier works from 2016 and 2018. Hill describes it as far more grueling than anything he has done before, experiencing widespread physical pain and mental challenges.
Adventures with Van Gogh, a weekly blog launched in 2018, has published its 300th post. To mark the milestone, the blog compiled a list of its most-read posts since the 200th edition in February 2023, updated with new information. Topics range from the ten most expensive Van Gogh paintings at auction (led by *Orchard with Cypresses* at $117m) to a geological feature near Saint-Rémy-de-Provence that appears in *The Olive Trees*, a defense of the suicide theory over murder, the real-life view behind *Starry Night over the Rhône*, Picasso’s granddaughter Marina Picasso quietly buying and selling a Van Gogh watercolour, and the artist’s preference for simple wooden frames over ornate gold ones.
Amy Sherald has moved her touring exhibition "American Sublime" to the Baltimore Museum of Art (BMA) after withdrawing it from the National Portrait Gallery (NPG) over censorship concerns. The show, previously at the Whitney Museum of American Art, will open at the BMA on November 3 and run until April 5, 2026. Sherald pulled the exhibition from the Smithsonian-affiliated NPG after she said the institution wanted to replace her painting "Trans Forming Liberty" (2024), which depicts the Statue of Liberty as a trans woman, with a video providing context on transgender issues. The BMA, which had already planned to honor Sherald with its "Artist Who Inspires" award, will feature works including her portrait of Michelle Obama, "Breonna Taylor" (2020), and the contested painting.
The Armory Show returns to New York City's Javits Center from September 5–7, 2025, with a VIP preview on September 4. Under new director Kyla McMillan, the fair features over 230 galleries from more than 30 countries, including curated sections such as Solo, Presents, Platform (titled "My Art Is the Evidence of My Freedom," curated by Raina Lampkins-Fielder), and a new Function section exploring art and design, curated by Ebony L. Haynes. Highlights include presentations by Gee’s Bend Quiltmakers at Nicelle Beauchene Gallery, Thornton Dial from Souls Grown Deep Foundation, and a monumental sculpture by Kennedy Yanko at James Cohan.
Van Gogh's *Starry Night over the Rhône* (September 1888), housed at the Musée d'Orsay in Paris, is analyzed in detail to separate the actual view of Arles from the artist's imaginative additions. The article examines how Van Gogh repositioned the Plough (Big Dipper) constellation, exaggerated the brightness of gas lamps, and likely painted most of the scene in his studio rather than en plein air. It also reveals that he later reworked the lower-left corner of the canvas, as seen in contemporary sketches.
Hauser & Wirth, the Swiss mega-gallery, will open its first Northern California location this spring in downtown Palo Alto, inside a former post office at 201–225 Hamilton Ave. The move is widely seen as a bid to be closer to Silicon Valley clients, particularly billionaire philanthropist Laurene Powell Jobs, whose Emerson Collective offices are two blocks away. Powell Jobs, rumored to be one of Hauser & Wirth's top clients, shifted her business from Pace Gallery to Hauser & Wirth in 2022. The renovation is led by Paris-based architect Luis Laplace, who is also designing Powell Jobs' renovation of the San Francisco Art Institute. The gallery will be the third Hauser & Wirth in California, joining two Los Angeles locations.
The Serpentine in London hosted its annual invitation-only Summer Party, a glitzy fundraising gala that drew a mix of art, fashion, tech, and showbiz figures. For the first time since 2000, a single artist co-hosted the event: Australian actor and humanitarian Cate Blanchett. The evening featured the Lego Group's bright orange Play Pavilion, a reimagined installation by Indian artist Subodh Gupta, and the Serpentine Pavilion designed by Bangladeshi architect Marina Tabassum. Notable attendees included sculptors Thomas J. Price and Antony Gormley, artists Grayson Perry, Es Devlin, and Yinka Shonibare, along with celebrities like Lily Allen, Beth Ditto, will.i.am, and Jessica Gunning. The event also highlighted Giuseppe Penone's exhibition 'Thoughts in the Roots' and was supported by partners including Bloomberg Philanthropies, Ruinart, Gagosian, and Google Arts & Culture.
Kulturstiftung Basel H. Geiger has opened a two-room exhibition dedicated to Basel native Irène Zurkinden (1909-87), her first major hometown show since the 1980s. The exhibition spans portraits, self-portraits, still-lifes, landscapes, drawings, and several sketchbooks on public view for the first time. Zurkinden studied fashion illustration in Basel before finishing her training at Paris’s Académie de la Grande Chaumière, inspired by Henri de Toulouse-Lautrec. She lived between Paris and Basel and was close friends with Meret Oppenheim, whose portrait by Zurkinden, Meret à l’orange (1932-35), is in Kunstmuseum Basel’s permanent collection and included in the show.
The National Gallery of Art in Washington, DC, has received a gift of more than 60 Modern and contemporary works on paper from longtime benefactors Lenore and Bernard Greenberg. The donation includes the first Bruce Nauman drawing to enter the collection, along with works by Susan Rothenberg, Philip Guston, Ed Ruscha, Vija Celmins, Alberto Giacometti, Franz Kline, Jasper Johns, Ellsworth Kelly, Willem de Kooning, Shahzia Sikander, Cy Twombly, and others. Photographs by Roni Horn, John Baldessari, Uta Barth, and Hiroshi Sugimoto, as well as a wire sculpture by Alexander Calder, are also included.
This guide highlights 15 art exhibitions across Upstate New York for summer, featuring moody paintings by Emily Pettigrew at Fenimore Art Museum, Native artists exploring time and memory at Hudson River Museum, Renée Green’s conceptual word shuffling at Dia Beacon, and Black history in the Hudson Valley at Vassar College's Loeb. Other shows include Arlene Shechet's intimate sculptures at Catskill Art Space and Larry Fink's photography at CPW in Kingston.
Korean artists are gaining unprecedented global recognition, with figures like Haegue Yang, Do Ho Suh, Lee Bul, and Mire Lee leading a shift from traditional Dansaekhwa abstraction to more conceptual and contemporary practices. The article highlights how K-pop and Korean soap operas have boosted cultural awareness, drawing new audiences to events like Frieze Seoul and prompting major international galleries such as White Cube, Perrotin, and Pace to open in Seoul. Curators and scholars note that Korean art now engages deeply with globalization, historical trauma, and sociopolitical change, facilitated by biennials in Gwangju, Busan, and Seoul, as well as a surge in art institutions.
New York City is hosting an unprecedented concentration of art fairs this week, with over nine fairs running simultaneously, including Independent, Esther, and Future Fair. Independent, held at Spring Place in Tribeca, opened on May 8 and is positioning itself as a boutique, hyper-curated alternative to mega-fairs like Frieze, featuring mostly solo presentations. Early sales were reported by several galleries: Europa sold works by Suyi Xu ($9,000–$20,000), Long Story Short sold six works by Keita Morimoto (up to $26,000), Charles Moffett nearly sold out his booth of Julia Jo ($10,000–$45,000), The Approach sold four works by John Maclean ($13,500 or less), and Copperfield presented works by Ada Patterson ($8,000–$23,000).
The article reflects on the idea that artists may have only 'ten good years' of peak creativity, prompted by a visit to the exhibition "Anselm Kiefer: Early Works" at the Ashmolean Museum in Oxford. The author contrasts the young Kiefer's deft, emotionally intimate works from 1969–1982 with his later, more grandiose output, arguing that Kiefer's early period surpasses anything he has achieved since. The piece also revisits critic Douglas Cooper's harsh dismissal of late Picasso and former Tate director Alan Bowness's theory of artistic prime.
Gallery Weekend Berlin returns for its 21st edition from May 2-4, 2025, featuring fifty-two galleries showcasing established and emerging artists. Antonia Ruder, who joined the event in 2023 and is now preparing her second full edition as director, discusses the festival's origins as a private initiative by five art dealers in 2005, its growth to become a global art calendar highlight, and its role as a premier platform for contemporary art in Germany in the absence of an international art fair in Berlin.
Frieze published a critic's guide titled 'Emergent Figures' Carves Space for Thai Artists in a Global Canon, which highlights a group exhibition featuring Thai artists at a venue in Brussels during Art Brussels. The show aims to present Thai contemporary art within a broader international context, moving beyond regional stereotypes. The article is part of a larger guide that also includes recommendations for other must-see shows during the fair, such as Richard Tuttle at Galerie Greta Meert and Lutz Bacher at WIELS.
The article provides a historical overview of protest actions that have taken place at the Venice Biennale, tracing key moments of political and social dissent within the prestigious international art exhibition. It highlights instances where artists, activists, and participating nations have used the Biennale as a platform to challenge authority, address censorship, and critique global issues, from the 1968 student protests to more recent controversies involving national pavilions and institutional policies.
Fondazione Dries Van Noten has opened at Palazzo Pisani Moretta in Venice with its inaugural exhibition, "The Only True Protest Is Beauty," running from April 25 to October 4, 2026. Curated by Dries Van Noten himself, the show features over 200 works across twenty rooms, blending fashion, art, design, ceramics, glass, and photography. Highlights include archival pieces by Christian Lacroix and Rei Kawakubo for Comme des Garçons, alongside works by emerging and established artists such as Ayham Hassan, Peter Buggenhout, Ritsue Mishima, and Misha Kahn. The exhibition avoids a fixed curatorial logic, instead using instinctive juxtapositions to explore beauty as tension and disruption.
Despite a general art market downturn, modern Indian art auctions have seen extraordinary demand. Over the past two weeks, sales at Christie’s in New York, Saffron Art in New Delhi, Pundole’s in Mumbai, and Sotheby’s in London all sold out. Sotheby’s London sale raised £19 million, more than five times its estimate, led by record-breaking works from Francis Newton Souza, including *Houses in Hampstead* (1962) sold for £5.6 million and *Emperor* (1957) sold for £5.2 million. The article traces Souza’s rebellious career, from his expulsion from school in Mumbai for pornographic graffiti, to his founding role in the Progressive Artists’ Group, his struggles in England and the US, and his eventual death in 2002 with little recognition.
Critic Aruna D’Souza responds to a viral essay by artist Josh Kline regarding the extreme financial pressures of living and working in New York City. While Kline suggests that artists should abandon the city due to the affordability crisis, D’Souza argues that leaving is not a viable long-term solution and calls for a more proactive approach to systemic change within the urban art ecosystem.