Duchamp in New York

The Museum of Modern Art (MoMA) has launched a major solo exhibition dedicated to Marcel Duchamp, marking the artist's first comprehensive survey in New York City in over 50 years. The exhibition explores Duchamp’s revolutionary impact on modern art, featuring iconic works and archival materials that trace his history from the 1913 Armory Show to his later years in New York. The opening is complemented by a broader "Duchamp spring" in the city, including a forthcoming exhibition of his readymades at Gagosian.

A Dutch museum has just put its fake Van Gogh on show

The Kröller-Müller Museum in Otterlo has broken traditional museum protocol by placing a known forgery, "Seascape at Saintes-Maries-de-la-Mer," on public display. Acquired in 1928 by museum founder Helene Kröller-Müller from the notorious Berlin dealer Otto Wacker, the painting was eventually exposed as a fake created by Wacker’s brother, Leonhard. The exhibition, which runs until June 21, coincides with a new podcast detailing the history of the acquisition and the subsequent fraud trial that rocked the art world in the 1930s.

Jasper Johns Marks Time

The art world is currently reflecting on the enduring legacy of Jasper Johns, highlighted by a new Gagosian exhibition focusing on his 1970s output. Critic John Yau explores Johns's career-long fascination with materiality and the inevitable decay of art, noting how the artist uses newsprint and wax to acknowledge that nothing remains static in time.

Jasper Johns Keeps Looking

Jasper Johns’s latest exhibition at Gagosian, 'Between the Clock and the Bed,' serves as a profound meditation on the artist's career-long investigation into the 'things the mind already knows.' By revisiting his signature motifs—including flags, targets, and crosshatch patterns—the show highlights Johns’s rejection of Abstract Expressionist spontaneity in favor of a deliberate, analytical process using encaustic and collage. The works document a transformation where familiar symbols are rendered into a complex visual language that bridges the gap between memory and physical presence.

Christie’s to sell an almost unknown Van Gogh double-sided drawing

A previously obscure double-sided drawing by Vincent van Gogh, created in the final weeks of his life, will be auctioned by Christie's in Paris. The sheet features a study of female pea pickers on one side and a landscape on the other, complete with color notations indicating Van Gogh's intention to develop them into paintings. The work has been authenticated by the Van Gogh Museum and carries an estimate of €100,000-€150,000.

Van Gogh goes to China, with a more affordable early painting

Christie's is auctioning Vincent van Gogh's early painting 'A Girl in a Wood' in Hong Kong on March 27, with an estimate of $1.3m-$2.6m. The work, recently redated to August 1883, is being offered directly in Asia, bypassing major Western previews, to target Chinese collectors.

Emmanuel Di Donna Mounts Major Salvador Dalí Show as Final Exhibition in Madison Avenue Space

Emmanuel Di Donna is presenting a major Salvador Dalí exhibition, "Dalí: The Great Years, 1929–1939," at his Madison Avenue gallery from April 16 to June 13. The show features over two dozen paintings, sculptures, and works on paper from the artist's most formative decade, assembled with loans from major institutions like the Art Institute of Chicago and the Philadelphia Museum of Art. It will be the final exhibition in Di Donna's current space before he launches a new joint venture with Pace and David Schrader.

The story behind Iran’s only Van Gogh: ‘At Eternity’s Gate'

A rare, inscribed lithograph by Vincent van Gogh, 'At Eternity's Gate,' resides in the collection of the Tehran Museum of Contemporary Art. The work, one of only seven surviving examples, was acquired in 1975 by Farah Pahlavi, the wife of the Shah of Iran, for the museum. It passed through notable hands, including those of US Vice President Nelson Rockefeller, before arriving in Tehran just before the 1979 Iranian Revolution.

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Guest columnist John Chiaverina reports from the opening of the 2026 Whitney Biennial, capturing the shifting moods of the New York art scene. Through interviews with participating artists like Maddie Biven of the collective kekahi wahi and veteran performer Pat Oleszko, the piece explores a tension between the desire for exuberant, risk-taking aesthetics and a perceived lack of political urgency among younger generations.

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Gagosian is set to present a solo exhibition of Nam June Paik’s work in Seoul, marking the first time in 25 years that a show in the artist’s home country has been organized in collaboration with his estate. Titled "Nam June Paik: Rewind / Repeat," the exhibition will be held at the APMA Cabinet and features approximately a dozen works, including rare early pieces from the 1960s such as "Media Sandwich" and the iconic "TV Bra for Living Sculpture."

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Marc Restellini’s Institut Restellini is set to release a definitive six-volume catalogue raisonné for Amedeo Modigliani after four decades of research. The publication, which includes 100 newly authenticated works, utilizes a rigorous methodology combining advanced scientific analysis—such as spectrometry and carbon-14 dating—with traditional stylistic evaluation and archival documentation. To mark the launch, Pace Gallery will host events in London and New York in April.

Hiba Schahbaz: The Garden

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Hiba Schahbaz is the subject of her first major museum retrospective, "The Garden," at the Museum of Contemporary Art, North Miami. Curated by Jasmine Wahi, the exhibition features 80 works spanning 15 years, tracing the artist's evolution from traditional Indo-Persian miniature painting in Lahore to her current large-scale practice in Brooklyn. The show highlights her recurring use of the female nude—often a stylized self-portrait—navigating mystical landscapes filled with Sufi poetry, mythical creatures, and art historical references.

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The commercial market for performance art is undergoing a significant shift in value and sophistication. While performance has been sellable for decades through archival editions and documentation—a model pioneered by figures like Marina Abramović and dealer Sean Kelly—newer methods include oral contracts for 'live' works and high-stakes secondary market sales. Recent examples, such as Hauser & Wirth offering a Felix Gonzalez-Torres performance piece with an eight-figure price tag, signal that the medium is moving from a niche interest into a high-value asset class.

Art Market Minute February 2026

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The art market is witnessing a significant shift in the commercial viability and valuation of performance art. While the medium has been sold in various forms for years, its increasing presence at major art fairs and galleries suggests a new era where collectors are beginning to prioritize the documentation and rights to live works as legitimate assets.

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Gagosian Gallery will open a new exhibition of Roy Lichtenstein's work titled "Painting with Scattered Brushstrokes" in March 2026. The show, drawing exclusively from the Lichtenstein family collection, will feature paintings, sculpture, and works on paper from the 1970s and '80s, focusing on his recurring brushstroke motif. It coincides with a major retrospective at the Whitney Museum and follows a period of intense market activity for the artist's work.

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Artnet News examines the top five auction results for Jean-Michel Basquiat, whose meteoric rise and tragic death at age 27 fueled a legendary market. The list includes works such as "Versus Medici" (1982), which sold for $50.82 million at Sotheby's in 2021; "El Gran Espectaculo (The Nile)" (1983), which fetched $67.1 million at Christie's in 2023; and "Untitled" (1982), which reached $85 million at Phillips in 2022. The article highlights the artist's synthesis of graffiti and Renaissance aesthetics, his relationships with figures like Andy Warhol, and the explosive growth of his market over the past decade.

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Artnet News highlights eight winter gallery shows in New York City, including Ragnar Kjartansson's video installation "Sunday Without Love" at Luhring Augustine, featuring the artist and collaborators in folk costumes chanting a comedic line about living without love, and Louise Bourgeois's exhibition "Gathering Wool" at Hauser & Wirth, which explores themes of motherhood and abstraction through video, sculpture, and performance. Other notable shows include Jordan Casteel's floral canvases at Casey Kaplan and Geoffrey Holder's pulsing paintings at James Fuentes.

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Artnet News reports that David Hockney's 1968 double portrait *Christopher Isherwood and Don Bachardy* sold for $44.3 million at Christie's on November 17, becoming the artist's third-most expensive work at auction. The painting had previously failed to sell at Sotheby's in 1985, bought in at $570,000. Artnet's reporting revealed that the Christie's catalogue omitted the name of Andrew Crispo, a once-prominent New York dealer, from the painting's provenance. The article details Crispo's meteoric rise from a troubled youth in Philadelphia to a savvy art dealer who championed American Modernism, his important clients including Baron Hans Heinrich Thyssen-Bornemisza, and his dramatic fall due to tax fraud, a prison sentence, and the IRS seizure of his inventory.

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Pace Gallery announced highlights for its Art Basel Paris presentation, including a major Amedeo Modigliani painting from 1918, *Jeune fille aux macarons (Young Woman with Hair in Side Buns)*, priced around $10 million. The work previews a new partnership between Pace and the Institut Restellini, founded by Modigliani scholar Marc Restellini. Restellini will collaborate with Pace on symposia in New York in 2026 and an exhibition in 2027, while his long-awaited Modigliani catalogue raisonné—authenticating 424 works—is set for publication in March 2025 by Yale University Press.

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Gagosian has partnered with filmmaker Wes Anderson to recreate the New York studio of Joseph Cornell at its Paris gallery space on 9 rue de Castiglione. The exhibition, curated by Jasper Sharp and titled “The House of Utopia Parkway,” will run from December 16 to March 14, 2026, transforming the gallery into a tableau that blends a time capsule with a life-size shadow box. It marks the first solo presentation of Cornell’s work in Paris in over four decades, featuring iconic glass-fronted “shadow boxes” such as *Pharmacy* (1943), *Untitled (Pinturicchio Boy)* (circa 1950), and *A Dressing Room for Gille* (1939).

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Gagosian has announced representation of the late American painter Richard Diebenkorn (1922–1993), marking the artist's return to the gallery more than thirty years after his final solo exhibition there during his lifetime. To celebrate, the gallery will mount a career-spanning exhibition at its Madison Avenue flagship opening November 8, curated by Jasper Sharp in collaboration with the Richard Diebenkorn Foundation. The show will feature works from every period of Diebenkorn's six-decade career, including early California landscapes, wartime watercolors, and the celebrated Ocean Park abstractions, with highlights such as a 1943 watercolor, a monumental 1960 canvas, and late works on paper.

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The Vancouver Art Gallery and the Walker Art Center have jointly acquired Nan Goldin's *Stendhal Syndrome* (2024), a slideshow-based video work with an original soundtrack. The acquisition was funded by the Curators’ Council Fund for Women Artists and the Jean MacMillan Southam Fund at the Vancouver Art Gallery. The work will make its Canadian debut at the Vancouver Art Gallery. First presented at Gagosian's New York gallery in September 2024 as part of Goldin's exhibition "You never did anything wrong," the piece pairs two decades of the artist's photographs with a personal voiceover, exploring the emotional power of art. It features images of classical, Renaissance, and Baroque masterpieces from institutions such as the Galleria Borghese, the Louvre, the Metropolitan Museum of Art, and the Prado, interwoven with portraits of Goldin's friends, family, and lovers.

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Y.Z. Kami's painting *Messenger (The Forrest)*, priced around $300,000, is currently on offer at Gagosian's Beverly Hills gallery. The work is part of a series the artist began in 2022 based on photographs taken during travels in India. Kami, born in Tehran in 1956 and based in the U.S. since 1984, is known for large-scale portraits in oil on linen. The painting is featured in Kami's exhibition 'The Domes' at Gagosian, which runs through August 8 and includes three Messenger paintings, one already sold. The show marks his first West Coast solo exhibition since 2016–17 at LACMA.

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This week's art industry news covers major auction results, gallery changes, and restitution developments. At Christie's Old Masters evening sale in London, Canaletto's "The Return of the Bucintoro on Ascension Day" set a new auction record for the artist at £31.9 million ($43.9 million), leading the sale to a total of £60.8 million. Sotheby's Old Masters evening sale brought in £14.5 million, with three new records including Diana de Rosa's "Salome with the Head of Saint John the Baptist" selling for £317,500. A rare early watercolor by Man Ray, "Nude Playing Musical Instrument" (1913), resurfaced after decades and will be auctioned at Dreweatts. In gallery news, Blum gallery laid off most of its staff and plans to cease brick-and-mortar operations, while Waddington Custot announced a new Paris space, and Company Gallery hired Subhas Kim Kandasamy as executive director. White Cube now represents Firenze Lai, and JD Malat Gallery launched a new initiative for UAE artists. In restitution, the Netherlands returned 119 Benin Bronzes to Nigeria, and the Museum of Fine Arts, Boston, transferred two Benin works to the Oba of Benin.

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Artnet News spoke to seven leading curators about how they identify emerging artists who will become the next big names. The curators, including Amy Smith-Stewart of The Aldrich Contemporary Art Museum and iLiana Fokianaki of Kunsthalle Bern, describe their methods: seeking artists who address erased histories, geopolitical contexts, and marginalized perspectives. The article also references a recent debate sparked by Dean Kissick's polemic 'The Painted Protest' in Harper's, which criticized contemporary art for being overly dictated by identity politics, a view countered by curators who affirm their commitment to socially engaged work.

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Phillips New York is offering Roy Lichtenstein's 1994 painting *Nudes in Mirror* with a $20 million estimate this fall, despite—or perhaps because of—its history of vandalism. The work, from the Rush Family Collection, was slashed by a mentally unstable woman while on loan to the Kunsthaus Bregenz in Austria in 2005, leaving four 12-inch gashes that have since been expertly restored. Phillips is openly embracing the attack as part of the painting's mythology, detailing the incident in its catalogue and comparing it to other famous acts of art vandalism.

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A new exhibition at Hauser & Wirth's Basel location, timed to Art Basel, reexamines the legacy of Swiss artist Meret Oppenheim, 40 years after her death. The show aims to move beyond her famous 1936 work *Object (Breakfast in Fur)*, presenting the full breadth of her practice across sculpture, painting, readymades, and wearable art. Curated by Josef Helfenstein, the exhibition positions Oppenheim as a multifaceted artist who resisted the labels of Surrealist muse and pop star, highlighting her irreverent, medium-defying approach.

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New York appraiser and art dealer Glenn Spellman discovered an abstract painting signed "E.H." on the Goodwill thrift store website last fall. Suspecting it might be by Eva Hesse, he enlisted his sister Kara Spellman, director of estates and acquisitions at Hollis Taggart gallery, who confirmed the painting's authenticity by consulting the artist's catalogue raisonné at the Metropolitan Museum of Art's library. The painting, titled *Landscape Forms* (1959), was acquired for $40,000 and will be auctioned at Christie's New York on May 15 with an estimate of $60,000–$80,000. A second Hesse work, *No title* (1964–65), will be offered at Phillips New York the previous day.

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This spring in New York, major museum surveys at MoMA, the Whitney, the Guggenheim, and the Metropolitan Museum of Art feature artists all represented by the mega-gallery Hauser & Wirth: Jack Whitten, Amy Sherald, Rashid Johnson, and Lorna Simpson. The article notes that this concentration has been dubbed "Hauser spring" by some observers, and questions the increasingly blurred line between commercial galleries and museums, especially as Hauser & Wirth has provided financial support for at least three of the four shows.

Artists v fascists, Khmer Rouge horrors, fab flowers and an eye-popping nude – the week in art

This week's art roundup from The Guardian features a major exhibition at Towner Eastbourne titled 'Comrades in Art: Artists Against Fascism,' which examines how artists, poets, and intellectuals used their work to resist the rise of extremism in 1930s Europe, drawing on the history of the Artists International Association (AIA). Other highlights include 'Hidden: Photography and Displacement Under the Khmer Rouge' at The Wiener Holocaust Library in London, a show of early Netherlandish drawings at the British Museum, Katharina Grosse's colorful installations at White Cube, and a flower-themed survey at Kettle's Yard. The image of the week is Sylvia Sleigh's 1963 portrait 'The Bridge (Johanna Lawrenson),' part of a new exhibition of the Welsh artist's work. The article also covers news items such as Lydia Ourahmane's Venice Biennale installation, a Holbein portrait mystery, a restored stained-glass window by Edward Burne-Jones and William Morris, and Anish Kapoor's call to exclude the US from the Venice Biennale due to 'politics of hate.'