A new film by artist Isaac Julien, featuring actors Sheila Atim and Gwendoline Christie as science-fiction deities, is on view at the Cosmic House in London. The 25-minute work, which incorporates themes from Octavia E. Butler's novel *Parable of the Sower*, explores concepts of change, interconnectedness, and fluid identity through a visually rich, postmodern lens.
"Eine Startrampe für die Zukunft"
The article is a media roundup covering several stories from the art world. It includes an interview with Jeff Koons discussing his artistic process and philosophy, a portrait of artist Jorinde Voigt, a report on the robust Art Düsseldorf fair, a news piece about two valuable Gerhard Richter paintings on loan to a museum, and a review of the new LACMA building's non-linear curatorial approach.
The article reviews the sixth edition of MoMA PS1's quinquennial survey 'Greater New York 2026,' which coincides with the institution's 50th anniversary. It highlights works by artists such as Covey Gong, Win McCarthy, Mekko Harjo, and Sophie Friedman-Pappas, noting how the exhibition's themeless structure and use of reflective surfaces create a hall of distorted reflections. The show includes 53 emerging and midcareer artists, mostly millennials, and is accompanied by a block party and gala rather than a dedicated commemorative exhibition like FORTY (2016).
An upcoming exhibition at ArtReview pairs artists Richard Prince and Arthur Jafa to explore the ethics and aesthetics of image appropriation. Jafa's work, such as the video "Love is the Message, The Message is Death" (2016), uses found footage of police violence and Black cultural icons, while Prince's "Girlfriends" series rephotographs amateur snapshots from biker magazines. Jafa has cited Prince as a key influence on his own practice of transposing images across contexts.
The Box, a pioneering Los Angeles gallery known for its nonprofit-style support of experimental and performance art, has announced its closure after nearly two decades. Founded in 2007 by Mara McCarthy, the gallery’s final exhibition featured late California painter Wally Hedrick, and a closing event will include a fashion show by Johanna Went. Mara McCarthy cited the shifting market for her father Paul McCarthy’s work and the loss of family homes in the Eaton Fire as factors behind the decision.
At Frieze New York, curator Lucien Zayan searches for artworks exploring the relationship between food and art, finding a piece by Aki Goto at Europa gallery that reflects on sugar, colonization, and cavities. The fair features works like David Lamelas's "To Pour Milk into a Glass" (1972) from Dia Art Foundation and Mungo Thomson's "Snowman" (2023) at Karma, while a performance by Kite (Oglála Lakȟóta) at the Counterpublic triennial booth offers a reprieve from the monotonous fair experience.
Artnet Auctions has three sales currently live: Post-War and Contemporary Art (through May 20), Contemporary Editions (through May 29), and Private Sales for immediate purchase. Three Artnet specialists highlight key lots: Robert Rauschenberg's 'Corridor (Hoarfrost)' (1978), Emily Mason's 'Express Report' (1988), and Andy Warhol's 'Double Mickey Mouse' (1981). The specialists discuss market trends, including the growing importance of artist foundations in supporting scholarship and market health, the rapid revaluation of post-war women abstractionists like Mason, and shifts in the prints market as consignors leverage demand.
The 2026 Carnegie International, titled “If the word we,” opened at the Carnegie Museum of Art in Pittsburgh, featuring 61 artists from around the world. Curated by Ryan Inouye, Liz Park, and Danielle A. Jackson, the exhibition emphasizes collective survival and interdependence, with works including Khalil Rabah’s video about Palestinian resilience, Shala Miller’s abstraction inspired by Toni Morrison, and a performance by Brooke O’Harra and collaborators celebrating teamwork through a historic basketball dunk by Julius Erving. The show extends to three other venues, including the Mattress Factory, where married artists Claudia Martinez Garay and Artur Kameya present a sprawling installation.
The Art Newspaper highlights five major lots from New York's May 2025 auctions. Phillips offers Joan Mitchell's diptych 'Plain' (1989), estimated at $5-7 million, from the collection of late Miami art patron Tina Hills. Christie's presents Donald Judd's rare copper and red Plexiglas 'Untitled (Stack)' (1969), estimated at $10-15 million, from the Minimalist collection of the late Henry S. McNeil Jr. Sotheby's leads with Jean-Michel Basquiat's 'Museum Security (Broadway Meltdown)' (1983), estimated above $45 million, and Mark Rothko's 'Brown and Blacks in Reds' (1957), estimated at $70-100 million from the collection of late dealer Robert Mnuchin.
The Venice Biennale 2026, titled "In Minor Keys," was curated posthumously following the death of artistic director Koyo Kouoh in May 2025. A team of five curators and advisors—Gabe Beckhurst Feijoo, Marie Hélène Pereira, Rasha Salti, Siddhartha Mitter, and Rory Tsapayi—executed her vision across the Giardini and Arsenale venues. The exhibition features 110 artists, with a strong emphasis on new commissions, and is structured around themes of procession, resistance, and joy. Key works include Big Chief Demond Melancon's "Amistad Takeover" (2026), Nick Cave's "Amalgam (Origin)" (2025), and Otobong Nkanga's rewilded columns at the Central Pavilion.
Hyperallergic reports on the 2026 Venice Biennale, with Editor-in-Chief Hakim Bishara criticizing the U.S. pavilion's exhibition of Alma Allen's work as a disappointing departure from the previous editions' profound explorations of Indigenous life and Black sovereignty. Editor-at-Large Hrag Vartanian offers a positive review of the main exhibition "In Minor Keys," while Greta Rainbow covers a poetry procession honoring the late artistic director Koyo Kouoh. Additional stories include a review of the film "The Christophers" about an artist and forger, and news of workers at the American Folk Art Museum picketing for higher wages.
The New Museum has named Yun Choi, Alison Kuo, and Korakrit Arunanondchai as the first artists-in-residence for its new Artist Studio, a 730-square-foot space created by the museum's OMA-designed expansion. The residencies will run from spring 2025 through winter 2027, with each artist developing new work, onsite exhibitions, and public programs. Separately, Forge Project announced its 2026 fellows—six Indigenous artists including Jay Bellis, Heidi Brandow, and Tiare Ribeaux—who will each receive $25,000 and a three-week residency. In other news, the Robert Therrien Estate has left Gagosian for David Zwirner Gallery, Laurel Nakadate won the Maud Morgan Prize, and Frieze New York revealed a staff uniform designed by artist Reika Takebayashi.
Pittsburgh's commercial gallery scene is experiencing a resurgence as the Carnegie International, the country's longest-running recurring exhibition, prepares to open its largest edition yet with 61 artists. Since the pandemic, several young gallerists with experience in New York and Los Angeles have opened spaces in the city, including Romance gallery (2023) by former Whitney curator Margaret Kross, and april april gallery (2024) relocated from Brooklyn by Patrick Bova and Lucas Regazzi. Longer-established galleries like Concept, Zynka, and James Gallery have welcomed these newcomers, with local figures such as collector Evan Mirapaul noting that Pittsburgh's robust arts ecosystem—including museums, universities, and nonprofits—has long lacked a strong commercial gallery presence.
The Turner Prize has announced its 2026 nominees: Simon Barclay, Kira Freije, Marguerite Humeau, and Tanoa Sasraku. The award, administered by Tate Britain, includes a £25,000 prize for the winner. For the first time, the nominees' exhibition will be held at Teesside University's Middlesbrough Institute of Modern Art, an academic setting. The selection has already drawn criticism for being tame and safe, with Guardian critic Eddy Frankel describing the prize as "timid" and "fearful." Tate Britain director Alex Farquharson defended the nominees, praising the diversity and sculptural focus of their work.
ArtReview has compiled a running list of national pavilions for the 61st Venice Biennale, running from 9 May to 22 November 2026. The Biennale was set to be curated by Koyo Kouoh, who died on 10 May 2025. Recent announcements include Haitham Al Busafi representing Oman, Genti Korini representing Albania with a three-channel video installation titled 'A Place in The Sun (still)', and Matías Duville representing Argentina with an interactive salt-and-charcoal installation. The Australia Pavilion will feature artist Khaled Sabsabi and curator Michael Dagostino, who were initially dropped due to controversy over Sabsabi's 2007 film 'You' but later reinstated. Florentina Holzinger will represent Austria with a water-themed performance.
Michelle Millar Fisher, formerly curator of Contemporary Decorative Arts at the Museum of Fine Arts, Boston, has been appointed chief curator at the Cooper Hewitt, Smithsonian Design Museum in Manhattan. She succeeds Matilda McQuaid, who is retiring after 24 years. Separately, the Getty Foundation awarded $1.8 million in grants to eight institutions through its Black Visual Arts Archive initiative, supporting the processing of historical records related to Black art. Other notable appointments include Jamie Blosser as curator of the Loeb Fellowship at Harvard Graduate School of Design, Graham C. Boettcher as director and CEO of the Norman Rockwell Museum, and Susan Fisher Sterling's retirement from the National Museum of Women in Arts. Artist Nora Turato also unveiled a humorous billboard near the High Line reading 'GIVE US MOM!!!'.
Art Basel Hong Kong 2026 drew 91,500 visitors and featured 240 galleries at the Convention and Exhibition Centre, alongside over 100 galleries at Art Central, three new boutique fairs, four new art spaces, multiple auction previews, and dozens of institutional shows and gallery openings. Despite a challenging 2025 that saw mega-galleries Pace and Perrotin close their Hong Kong spaces and auction results hit an eight-year low, blue-chip galleries reported strong sales, including David Zwirner’s USD 3.8 million sale of Liu Ye’s "Snow White" (2006) and Hauser & Wirth’s USD 2.95 million sale of a Louise Bourgeois work. The prevailing sentiment among collectors and gallerists was cautious optimism, with the phrase "Are you surviving?" overheard frequently.
Frieze New York marks its 15th edition from 13-17 May at the Shed, featuring 68 galleries from over 25 countries. The fair includes 57 exhibitors in the main section and 11 in Focus, with nearly half maintaining a New York location. First-time participants include Europa, Sargent’s Daughters, Soft Opening, Ulrik, and W-galería. Latin American representation has grown significantly, with 14 galleries from the region, including Campeche from Mexico City, Isla Flotante from Buenos Aires, and Central from São Paulo. Christine Messineo, Frieze’s director of fairs for the Americas, highlights the fair’s increasingly international scope and the strong Brazilian contingent.
The 2026 Met Gala, held on May 4 at the Metropolitan Museum of Art, raised a record $42 million for the Costume Institute, surpassing last year's $31 million. Honorary chairs Jeff Bezos and Lauren Sanchez Bezos contributed at least $10 million, but their involvement sparked protests outside the event, with demonstrators holding signs like "Tax the Rich" and a group called Everyone Hates Elon leaving fake urine bottles labeled with Bezos's face. Inside, artists made a strong impression: Amy Sherald wore a Thom Browne look based on her painting; Jordan Roth donned a Robert Wun outfit inspired by a Met collection work; and Tschabalala Self collaborated with Brandon Blackwood on a gown evoking Degas's ballerina sculpture. The gala's dress code was "fashion is art," and the accompanying exhibition, "Costume Art" (May 10–January 10, 2027), debuts the Met's new 12,000-square-foot Condé M. Nast Galleries.
The 10th edition of Art Monte Carlo took place from April 29 to May 1 in the Grimaldi Forum, featuring 26 exhibitors ranging from Old Master paintings to contemporary works by Picasso, Warhol, and Richter. The fair was acquired last year by Informa Prestige, a luxury offshoot of Informa, which also owns Miami's Untitled fair. Executive chair John Paton aims to grow the fair, nearly double its size within two years, and expand to another location, leveraging complementary audiences from yachting and supercars.
The Los Angeles County Museum of Art (LACMA) is set to open its new $724 million David Geffen Galleries, designed by Swiss architect Peter Zumthor. The building features a radical, non-linear layout that eschews traditional chronological and geographical hierarchies, allowing artworks from 15 different curatorial departments to be displayed in conversation with one of another. Despite years of controversy regarding its concrete design and a 10 percent reduction in exhibition space, the museum is positioning the new structure as a flexible "laboratory" for global art history.
The Los Angeles County Museum of Art (LACMA) has finally unveiled its new flagship building, the David Geffen Galleries, designed by Pritzker Prize-winning Swiss architect Peter Zumthor. The concrete-and-glass structure famously straddles Wilshire Boulevard, featuring a continuous glass facade that offers panoramic views of the Los Angeles landscape and newly installed outdoor sculptures. Inside, the layout encourages a non-linear experience, moving visitors through varying light conditions and diverse gallery sizes that house a mix of contemporary and classical works.
Ei Arakawa-Nash, a Japanese American performance artist, was selected to represent Japan at the 61st Venice Biennale, becoming the first non-Japanese national to do so in a solo presentation. This follows his first solo museum exhibition, "Paintings Are Popstars," at Tokyo's National Art Center in 2024, which was also the center's first solo show devoted to a performance artist. In an interview with ArtReview, Arakawa-Nash discusses his naturalization as a U.S. citizen, his complex relationship with national identity, and his upcoming Venice exhibition titled "Grass Babies, Moon Babies," cocurated by Lisa Horikawa and Takahashi Mizuki, which will explore themes of care and reparation using babies as a central motif.
The Independent Art Fair has moved to Pier 36 on the Lower East Side waterfront for its 17th edition, running through May 17. The fair features 76 booths with a more spacious, warehouse-like layout, and a noticeably older, glossier crowd compared to previous years. Exhibitors include Los Angeles-based ATLA and Diane Rosenstein galleries, as well as international participants like Bogotá's SGR Gallery, showcasing solo presentations by artists such as Yoshikazu Tanaka, Kuniko Kinoto, and Johan Samboní. The fair has also announced partnerships with Sotheby's for its 20th-century edition and with the nonprofit Henry Street Settlement, signaling a tension between upscale ambitions and local community ties.
The American Arts Conservancy (AAC), the nonprofit tasked with executing Alma Allen's 2026 US Pavilion at the Venice Biennale, is soliciting online donations from the public after receiving no corporate or foundation funding. Unlike previous pavilions backed by major foundations like Ford and Mellon, AAC's fundraising relies on private citizens, with a minimum $100 donation requested via its website. The State Department provided $375,000 but requires additional funding, and AAC's Executive Director Jenni Parido, a former pet food store owner, declined to name specific donors, though Instagram posts suggest wealthy Trump allies attended benefit events. Perrotin Gallery, which represents Allen, is providing operational support but not funding.
The Box LA, a pioneering experimental art space in Los Angeles known for its fearless support of unconventional and performance art, is closing after 19 years. Founded in 2007 by Mara McCarthy in Chinatown (later moving to the Arts District), the gallery operated as a commercial space but with a nonprofit ethos, championing underrecognized artists from her father Paul McCarthy's generation alongside emerging talents. Its final exhibition, a retrospective of Wally Hedrick presented with Parker Gallery, ended April 4, with a closing celebration planned for June 6 featuring a fashion show by Johanna Went. The closure is attributed to financial struggles, exacerbated by the Eaton Fire that destroyed McCarthy's home and her family's, and a shift in support from McCarthy Studios.
Digital art giants Artnet and Artsy have implemented significant layoffs following their recent merger under the investment firm Beowolff Capital. The cuts, which occurred on April 16, impacted dozens of employees across both organizations, including senior editorial staff such as Sarah Cascone and Eileen Kinsella. The restructuring follows a reported 12% revenue decline for Artnet in early 2025 and involves the shutdown of Artnet's German entity as the two companies consolidate into a single team led by CEO Jeffrey Yin.
Eyecatcher und Entdeckungen
The 42nd edition of Art Brussels has scaled down to 138 exhibitors from 165 in 2025, responding to a sluggish contemporary art market and economic uncertainty. The fair introduces a new section called 'Horizonte,' curated by Devrim Bayar of Kanal Centre Pompidou, featuring six large-scale installations including Pao Hui Kao's delicate paper-and-lacquer refuge and Oswald Oberhuber's €380,000 panoramic painting 'Paradiesgarten.' Galleries are now consolidated into one hall, with fewer blue-chip participants but a continued focus on living artists (95% of the 500 shown). Notable presentations include Xavier Hufkens' solo show of Cassi Namoda, Krinziger's works by Marina Abramović and Monica Bonvicini, and Richard Saltoun's historical mix of Fernand Khnopff, Everlyn Nicodemus, and Suzanne Van Damme.
Georg Baselitz, born Hans-Georg Kern in 1938, has died at age 88. The German painter and sculptor, who changed his name in 1961, built a career on aesthetic dissent. Expelled from art school in East Berlin, he first gained notoriety with a 1963 exhibition at Galerie Werner and Katz in Berlin, where two works were seized for obscenity. His signature gesture—inverting his images, beginning with "Der Wald auf dem Kopf" in 1969—became his most recognizable trademark, shifting focus from subject to the act of painting itself. Baselitz also produced significant sculptures, often carved with a chainsaw and axe, and his work was the subject of major retrospectives at the Centre Pompidou (2021-2022) and the Musée d'Art Moderne de Paris (2011-2012).
A new exhibition titled “Modern British: Modern & Contemporary British Sculpture” has opened at Bowman Sculpture in London, tracing the evolution of British sculpture from Modernism to the present day. The show features iconic figures such as Henry Moore, Eduardo Paolozzi, and Lynn Chadwick alongside emerging talents like Rufus Martin and Joanna Allen, creating cross-generational dialogues. Highlights include Moore’s *Small Seated Figure* (ca. 1936) and Paolozzi’s *Richard Rogers as Newton* (1990). The exhibition runs through May 29, 2026, and reflects the gallery’s shift from focusing on Modern masters to embracing contemporary voices.