London gallery Archeus / Post-Modern has organized a by-appointment presentation titled "Bridget Riley: Sixties. The Complete Black and White Graphic Works." The exhibition brings together a rare, complete suite of seven prints on paper and seven companion works on Plexiglas, known as *Fragments*, all created by the English Op Art pioneer in the early-to-mid 1960s.
Performance artist Pat Oleszko, known for her satirical costumes and public interventions, is receiving significant institutional recognition in New York. At 78, she is featured in the 2026 Whitney Biennial and is the subject of a solo exhibition, "Fool Disclosure," at SculptureCenter, her first institutional solo show in the city in over 35 years.
The Winter Show at New York's Park Avenue Armory features a standout booth by the gallery French and Company, presenting a darkly themed collection. The eclectic offerings include Old Master still lifes by Willem Kalf and Willem Claesz Heda, a Victorian ceramic peacock, a 1979 painting by Susan Rothenberg, and a "horror wall" with works like Pasko Vucetic's *Hatred and Madness* and Wilhelm Trübner's *A Gorgon's Head*, all curated by the gallery's Henry Zimet.
On International Lego Day, the article ranks Lego Art sets inspired by famous artworks, including Vincent van Gogh's *Sunflowers* and *Starry Night*, Hokusai's *The Great Wave*, and others. The ranking is done by the author and their brother, an Adult Fan of Lego, who rate each set from both an art critic and a Lego builder perspective.
The Pennsylvania Academy of the Fine Arts (PAFA) has appointed Kristen Shepherd as its new president and CEO, effective February 9. Shepherd, 54, previously served as executive director and CEO of the Museum of Fine Arts in St. Petersburg, Florida, and held leadership roles at the Los Angeles County Museum of Art, the Whitney Museum in New York, and Sotheby’s in New York and London. She also runs her own consulting firm, Shepherd Lane + Associates. Shepherd takes over at a challenging time for PAFA, which closed its college last May due to rising costs and low enrollment, though it continues to offer K-12 and continuing education programs.
Milan is briefly opening access to a rare Leonardo da Vinci mural inside the Sforza Castle during the 2026 Winter Olympics. From February 7 to March 14, visitors can climb a 20-foot scaffold in the Sala delle Asse to see conservators restoring the unfinished wall and ceiling painting, which was begun around 1498 and long hidden under plaster. The castle has also launched a new multimedia installation on the room's history and reopened a gallery dedicated to Leonardo's students and followers, the Leonardeschi.
The Smithsonian’s National Air and Space Museum will reopen its newly renovated Flight and Arts Center in July 2026 with a major exhibition devoted to Robert Rauschenberg. Titled “The Ascent of Rauschenberg: Reinventing the Art of Flight,” the show features 30 works by the American Pop artist, some never before exhibited, tracing how aviation and space exploration themes permeated his six-decade career. Highlights include his lithograph *Sky Garden (Stoned Moon)*, inspired by the Apollo 11 mission, and works from his “Combines” series. The exhibition draws loans from the Hirshhorn Museum, the Smithsonian American Art Museum, the National Gallery of Art, and the Robert Rauschenberg Foundation.
The New Museum in New York has announced that its OMA-designed expansion will open to the public on March 21, following nearly a decade of planning and a two-year closure. The 60,000-square-foot addition, located next to the original flagship on Bowery Street, doubles the institution's footprint and features new residency studios, exhibition spaces, a restaurant, a forum, and a Sky Room. The inaugural exhibition, "New Humans: Memories of the Future," will showcase 150 artists including Sophia Al-Maria, Meriem Bennani, Hito Steyerl, Tau Lewis, and Jamian Juliano-Villani, alongside permanent commissions by Tschabalala Self and Sarah Lucas. The building, designed by Shohei Shigematsu and Rem Koolhaas of OMA with executive architect Cooper Robertson, is one of the few museums worldwide designed by two Pritzker Prize winners.
Newly uncovered documents from the Museum of Modern Art’s archives confirm that the Franco regime in Spain attempted to censor Robert Motherwell’s painting *Elegy to the Spanish Republic No. 35* (1954–58) before its scheduled 1958 exhibition in Madrid. The painting was part of MoMA’s traveling show “The New American Painting,” which introduced Abstract Expressionism to Europe. Spanish authorities demanded Motherwell remove the phrase “Spanish Republic” from the title, but the artist refused, leading to the work’s exclusion from the exhibition. The documents, reviewed by *El País*, also reveal that Catalan artist Antoni Tàpies boycotted state-sanctioned shows, calling the regime’s cultural propaganda “scandalous.”
Frank Lloyd Wright, the renowned architect of New York's Solomon R. Guggenheim Museum, underwent bizarre medical treatments at the urging of Hilla Rebay, the artist and curator who commissioned him to design the museum. Rebay, a Prussian-born baroness and advisor to Solomon R. Guggenheim, convinced Wright to have all his teeth pulled and replaced with dentures within six weeks of their meeting, and also subjected him and his wife to leech bloodletting to drain 'old' blood. The Wrights stopped following her advice when she eyed their daughter's teeth.
Robert Rauschenberg designed the cover for Talking Heads' 1983 album *Speaking in Tongues*, creating a limited-edition LP package with three plastic discs featuring cyan, magenta, and yellow designs that produced a full-color, kinetic composition when overlaid on the spinning record. The project stemmed from a friendship between Rauschenberg and frontman David Byrne, who met after Byrne saw Rauschenberg's photo collages in a New York gallery. Despite production challenges that limited the design to a special edition, the album won a Grammy for best album cover.
Artnet News recapped nine notable art and design crossovers in pop culture from 2025. These include a Renoir painting spotted in a Wes Anderson film, a John Everett Millais reference on a Taylor Swift album cover, and a Dieter Rams chair appearing in the TV show "Severance." The article also highlights painter Ronan Day-Lewis bringing his visual world to film with his debut "Anemone," Spike Lee incorporating his art collection into the film "Highest 2 Lowest," and Frank Lloyd Wright's Oak Park home being featured on the TV series "The Bear."
A recently released set of files related to convicted sex criminal Jeffrey Epstein has implied that his ties to collector Leslie Wexner, the former Victoria's Secret CEO, ran deeper than previously thought. An FBI email released by the Department of Justice referred to potential “co-conspirators” who worked with Epstein, and while heavily redacted, the message clearly references Wexner, the namesake collector behind the Wexner Center for the Arts in Columbus, Ohio. Wexner's spokesperson denied the implication, stating that he was “neither a co-conspirator nor target in any respect” in the inquiry.
The Detroit Institute of Arts (DIA) has reinstalled its African American galleries, moving them from the back of the museum to a prominent location beside Diego Rivera's iconic "Detroit Industry Murals" (1932–33). The reinstallation is framed by a quote from Alain Locke's 1925 essay "The Legacy of the Ancestral Arts," envisioning the museum as an instrument of cultural education and repair. Complementing this is "Contemporary Anishinaabe Art: A Continuation" (through April 5), the first comprehensive survey of art from the Indigenous inhabitants of the Great Lakes region. The DIA began collecting African American art in 1943 and in 2001 became the first US museum to name a curator devoted to that field, Valerie J. Mercer, who still serves as curator and head of African American art.
Eduardo F. Costantini, founder of the Museo de Arte Latinoamericano de Buenos Aires (Malba), announced the acquisition of the Daros Latinamerica Collection in Zurich, adding 1,233 works by 117 artists to the museum's holdings. This roughly doubles Malba's collection to 3,000 works, with a major expansion project planned to accommodate the new pieces, set to begin next fall to mark the museum's 25th anniversary. Highlights include works by Doris Salcedo, Ana Mendieta, Julio Le Parc, Alfredo Jaar, Lygia Clark, and Jesús Rafael Soto, with 75 artists new to Malba.
Helen Frankenthaler, the pioneering Color Field painter known for her luminous, stain-soaked canvases, is the subject of a renewed wave of exhibitions. The Palazzo Strozzi in Florence and the Guggenheim Museum Bilbao recently hosted a major survey of her work, while the Museum of Modern Art in New York is currently presenting "Helen Frankenthaler: A Grand Sweep" in its atrium. Next year, the Kunstmuseum Basel will open the largest exhibition of her art in Europe to date, marking her first solo museum show in Switzerland. The article also recounts her biography—her privileged upbringing on the Upper East Side, her studies at the Dalton School and Bennington College, her relationships with Clement Greenberg and Robert Motherwell, and her invention of the soak-stain technique in 1952, which helped birth Color Field painting.
The Studio Museum in Harlem reopened its newly rebuilt, seven-story space on 125th Street after nearly eight years without a permanent home. A press preview on November 6, 2025, showcased the $300 million, 82,000-square-foot building designed by Adjaye Associates with Cooper Robertson, which more than doubles the museum's exhibition space. The public reopening is set for November 15 with a free community celebration. Inaugural exhibitions include "From Now: A Collection in Context," works by over 100 alumni of the artist-in-residence program, and a solo show of Tom Lloyd, whose work was featured in the museum's first exhibition in 1968. The building features a grand staircase, a cantilevered auditorium called the "Stoop," a roof terrace, and prominent works by David Hammons and Glenn Ligon.
A week after wildfires erupted across Los Angeles, the city remains under critical threat as the Pacific Palisades, Eaton, Hollywood Hills, and San Fernando Valley fires have forced the evacuation of roughly 200,000 residents, destroyed about 12,000 buildings, and claimed at least 24 lives. Among the losses are culturally and architecturally significant structures, including the Bunny Museum in Altadena, the historic Will Rogers ranch, the Altadena Community Church (designed by Harry L. Pierce), the Andrew McNally House (a Queen Anne-style mansion by Frederick Roehrig), Richard Neutra's Benedict and Nancy Freedman House, and Gregory Ain's Park Planned Homes in Altadena. Adrian Scott Fine of the Los Angeles Conservancy described the destruction as "a mass erasure of heritage."
Pilar Tompkins Rivas, chief curator and deputy director of curatorial and collections at the Lucas Museum of Narrative Art in Los Angeles, has left the museum less than a year before its scheduled September 2026 opening. The museum stated it has no immediate plans to replace her, with George Lucas continuing to oversee curatorial direction. This departure follows a series of staffing issues, including the exit of director and CEO Sandra Jackson-Dumont in March 2025, layoffs of 22 staff members in May, and the earlier losses of curator Amanda Hunt and curator-at-large Dan Nadel. The $1-billion museum, first announced in 2017, has faced repeated delays due to the pandemic and supply-chain shortages.
Pilar Tompkins Rivas, chief curator and deputy director of curatorial and collections at the Lucas Museum of Narrative Art in Los Angeles, has left her post, as first reported by the Los Angeles Times. Her departure is the latest in a series of leadership exits at the institution, which is set to open on September 22, 2026. The museum was founded by George Lucas and Mellody Hobson, and Rivas was one of six women of color appointed to high-ranking roles in 2020 by then director and CEO Sandra Jackson-Dumont, who left in February. The museum laid off 15 employees in May, and CEO duties are now held on an interim basis by Jim Gianopulos, while Lucas himself oversees curatorial content.
The New York Botanical Garden's 34th annual "Holiday Train Show" features miniature replicas of New York landmarks crafted from natural materials by the botanical artists of Applied Imagination. This year's edition adds two new models: the recently renovated Delacorte Theater in Central Park and the Whitney Museum of American Art's Meatpacking District flagship, designed by Renzo Piano. The Whitney replica, built over three months by artist Ava Roberts and fabrication director Kaitlin Schmidt, uses a new two-way mirrored acrylic glass technique for the windows and incorporates materials like purple smoke bush branches, horse chestnut bark, and fallen Zelkova bark. The company, founded by Paul Busse in 1991 and now run by his daughter Laura Busse Dolan, creates whimsical versions of landmarks using leaves, sticks, fungi, and other dried plant materials.
A devastating fire in Hong Kong's Tai Po neighborhood, which killed at least 151 people, has prompted a period of mourning and led several major cultural institutions to cancel or postpone public events. The Hong Kong Arts Festival and the Hong Kong Jockey Club Charities Trust cancelled a press conference for the "No Limits" program, while M+ rescheduled its "Night: Festive Play" event. Meanwhile, art fairs and galleries continue to announce developments: Kiaf Seoul will run concurrently with Frieze Seoul in 2026, Contemporary Istanbul will introduce a new Focus Asia section, and Art Basel Hong Kong 2026 will feature new sectors Echoes and Zero 10. In the market, On Kawara's "NOV. 27, 1984" sold for HK$8.5 million at Bonhams Hong Kong, and standout results were seen at Sotheby's Hong Kong.
The winter collaborations issue of Art in America explores the often unglamorous, slow-paced nature of creative work, challenging the social-media-driven perception of art-making as fast and dramatic. The issue features pieces on Ira Sachs's film *Peter Hujar's Day*, which depicts the artist's mundane daily routine, and an interview with Chicago-based artists Nick Cave and Bob Faust, who discuss their collaborative practice and the perceived lack of drama in their process. Other highlights include features on Talia Chetrit's fashion-art boundary work, Mernet Larsen's multi-perspective paintings, and the role of licensing agreements with artists' estates.
The FLAG Art Foundation, based in New York, has pledged £1 million ($1.3 million) to London's Serpentine Galleries to establish a new biennial artist prize. Named the Serpentine x FLAG Art Foundation Prize, it will award £200,000 ($265,000) to an international artist who has been exhibiting for fewer than ten years, along with an exhibition at both institutions and a catalog. The first winner will be selected in 2026, with exhibitions at Serpentine in 2027 and FLAG in 2028. The prize is funded by collector Glenn Fuhrman's foundation and is the largest contemporary art prize in the UK.
New York's marquee auction week delivered strong results, with Sotheby's and Christie's posting combined sales of nearly $2 billion. Sotheby's achieved a record $706 million evening at its new Breuer Building headquarters, driven by the Leonard Lauder estate sale, while Christie's $690 million 20th-century sale was up 41.9% from last November. Gustav Klimt's *Portrait of Elisabeth Lederer* sold for $236.4 million, setting a new auction record for the artist and becoming the most expensive Modern artwork ever sold at auction. Frida Kahlo's *El Sueño (La Cama)* fetched $54.7 million, a record for a work by a woman artist at auction.
The Musée Rodin has brought Auguste Rodin's collection of ancient Egyptian art to the United States for the first time, in an exhibition titled "Rodin's Egypt" at New York University's Institute for the Study of the Ancient World (ISAW). The show presents about 60 objects across two galleries, including Egyptian artifacts Rodin collected from the 1890s onward, alongside a dozen of his own sculptures. Curated by Bénédicte Garnier and Roberta Casagrande-Kim, the exhibition highlights Rodin's deep engagement with Egyptian art and features loans from the Metropolitan Museum of Art, as well as objects tied to the Brummers family of art dealers.
The article reveals little-known secrets about the Metropolitan Museum of Art, including that its first home was not on Fifth Avenue but at 681 Fifth Avenue, and later the Douglas Mansion, before moving to its current location in 1879. It also notes that the museum's original red-brick facade is barely visible today, hidden within the Robert Lehman Wing, and that its first director, Luigi Palma di Cesnola, controversially mixed and matched parts of ancient sculptures to create composite works, while also misrepresenting their provenance.
The Mississippi Museum of Art (MMA) has acquired the Frank Lloyd Wright–designed property Fountainhead in Jackson, Mississippi, following approval from the Jackson Planning and Zoning Board and City Council. Originally designed in 1948 and completed in 1954 for oil speculator J. Willis Hughes, the 3,558-square-foot Usonian home was later restored by architect Robert Parker Adams and has been on the National Register of Historic Places since 1980. The museum plans to open the home for public tours, with bus transportation from its main campus, and to establish community partnerships.
Dorothy Vogel, who with her husband Herbert built one of the most celebrated art collections of the 20th century while working as a librarian and a postal clerk, died on November 10 at age 90. The couple amassed thousands of Minimalist and conceptual works by artists such as Donald Judd, Roy Lichtenstein, and Sol LeWitt, housing them in their rent-controlled Manhattan apartment. They never sold any artwork and ultimately donated their entire collection to the National Gallery of Art in Washington, D.C.
Newly released emails between Jeffrey Epstein and journalist Michael Wolff reveal Epstein speculating about the $450 million sale of Leonardo da Vinci's *Salvator Mundi* and its possible connection to Donald Trump. In a May 2019 exchange, Epstein suggested that the painting's sale by Russian oligarch Dmitry Rybolovlev to Saudi Crown Prince Mohammed bin Salman might have been a covert bribe to secure Trump's support on Middle Eastern policy, specifically his veto of a congressional resolution against U.S. involvement in the Yemen war. Epstein also noted that his "art guy" thought the painting wasn't very good.