The Rose Art Museum at Brandeis University has opened a survey exhibition titled 'Photorealism in Focus.' The show brings together works by more than 30 artists, including early pioneers like Robert Cottingham and Ralph Ladell Goings, as well as artists such as Audrey Flack and Joyce Stillman-Myers, to trace the movement's history from the late 1960s to its contemporary expansions across painting and sculpture.
Bailly Gallery, a Geneva-based gallery founded in 2007 by Charly and Hanna Bailly with family roots in the art business since 1977, is expanding its presence in Paris by opening a full public gallery space after operating a private showroom there for several years. The new location, which took five years to find, includes both a public exhibition area and two private showrooms designed like apartments, allowing collectors to view works in a domestic setting. The gallery is known for its expertise in Impressionist, Modern, and Postwar art and design.
Dib Bangkok, Thailand's first international-standard contemporary art museum, opened on December 20 with a festive and dramatic inauguration in Bangkok. Founded by the late industrialist and art collector Petch Osathanugrah and completed by his son Purat "Chang" Osathanugrah, the museum debuted with the exhibition "(In)Visible Presence," curated by Ariana Chaivaranon and Dr. Miwako Tezuka, featuring 81 works by 40 artists from the museum's collection. The opening included a visceral performance by Marco Fusinato, where Chang struck a wall with a baseball bat to complete the artwork, symbolizing a "big bang" for Thailand's cultural landscape.
Artnet News recaps the defining trends of 2025 in the art world, highlighting five key stories. These include the resurgence of elaborate frames in contemporary art ("Bordercore"), the rise of "red-chip art" favored by a new breed of flashy collectors, a "para-pastoral" movement that twists idyllic rural scenes into unsettling visions, and the growing popularity of small-scale paintings driven by intimacy and market shifts.
Laurence des Cars, president of the Louvre, is under pressure to resign after a tense Senate hearing on Wednesday, October 2025, following the theft of $102 million worth of imperial jewels. Lawmakers questioned her failure to act on security warnings from audits commissioned in 2017 and 2018 by her predecessor, Jean-Luc Martinez. Des Cars claimed she was unaware of those audits until after the theft. In response, she has accelerated a $92 million security plan, including 100 additional cameras, a new security coordination hire, and a 20% budget increase for staff training. She also announced a new internal audit on information sharing within the museum's bureaucracy, which she described as disorganized.
Ki Smith Gallery in New York is hosting "50 years of PUNK," an exhibition honoring the seminal punk magazine that launched in 1975. Running through January 11, the show features ephemera, new artworks, and issues 24 and 25 of the magazine, which famously covered bands like the Ramones and Lou Reed. The exhibition opened on November 28, marking 50 years since PUNK interviewed Reed and the Ramones at CBGB's. Co-curated by gallery founder Ki Smith and PUNK co-founder John Holmstrom, the show celebrates the magazine's DIY spirit and its role in shaping punk culture.
Thailand is emerging as a major contemporary art destination, with a wave of new institutions, fairs, and tax incentives drawing international attention. The government-initiated Thailand Biennale opens in Phuket, while the third and final edition of the Ghost biennial just concluded in Bangkok. Collector Marisa Chearavanont recently opened Bangkok Kunsthalle and Kai Yao Art Forest, and Purat “Chang” Osathanugrah is launching Dib Bangkok, billed as the country’s first international contemporary art museum, on December 21. New York dealer Harper Levine plans to open a Bangkok outpost of his Harper’s gallery in spring, and Seoul-based Artue is planning a scaled-up art fair called Art Bangkok International for next year. In August, the Thai government approved tax deductions for purchasing artworks by national artists and higher tax breaks for artists.
American artist Llyn Foulkes has died at age 91, as confirmed by Kent Fine Art. Known for defying stylistic categorization, Foulkes was an early pioneer of Pop art, showing at Fergus Gallery in the mid-1960s ahead of Andy Warhol. He won the painting prize at the Paris Biennale in 1967 and represented the United States at the IX São Paulo Art Biennial that same year. His work incorporated collaged elements and explored themes of photography, Americana, and commercial pop culture. Foulkes was also a jazz musician, performing with R. Crumb and forming the Rubber Band, which appeared on Johnny Carson's Tonight Show. He invented a one-man-band instrument called the Machine and participated in Documenta 13 in 2012, with a retrospective at the Hammer Museum in 2013.
The National Gallery of Art in Washington, D.C., has opened "Photography and the Black Arts Movement, 1955–1985," a major survey featuring some 150 images by Black photographers who documented the civil rights and Black liberation movements. Curated by Deborah Willis and Philip Brookman, the exhibition includes works by Doris Derby, John W. Mosley, Ming Smith, and about 100 other artists, capturing both iconic protest imagery and quieter, intimate moments of Black life. The show runs through January 11, 2026.
The Onassis Foundation’s experimental art and tech studio, Onassis ONX, is relocating to a larger 6,000-square-foot space in Manhattan’s Tribeca neighborhood, doubling its size. The new facility at 390 Broadway will open in January with the multimedia exhibition “TECHNE: Homecoming,” featuring works by artists such as Andrew Thomas Huang, Tamiko Thiel, and Sister Sylvester. The space includes advanced production facilities like a motion-capture stage, a three-wall projection room, an expanded sound studio, and enhanced AI and generative media infrastructure.
The editor's letter for the 2025 ARTnews Top 200 Collectors issue recounts a cinematic moment at Art Week Riyadh in Saudi Arabia, where a government-affiliated collector described their role as "everyone and no one," reflecting the behind-the-scenes, museum-focused art acquisitions under Vision 2030. The issue features a report by Melissa Gronlund on the Gulf art scene, noting that Saudi Arabia is prioritizing museums and noncommercial programming before an independent market can emerge, while private collectors and foundations are also gaining ground. The article also highlights the cooling art market in Europe and the US, with collector Christen Sveaas criticizing blue-chip galleries for over-commercial pricing strategies.
Art Basel Paris at the Grand Palais has drawn a constellation of satellite fairs across the city, including Paris Internationale and Asia Now, both celebrating their 10th anniversaries. Paris Internationale, founded in 2015 by gallerists Ciaccia Levi, Crèvecœur, and Gregor Staiger, presents 59 galleries and seven non-profit spaces from 19 countries at the Rond-Point des Champs-Élysées, emphasizing independence and artist-centered values. Asia Now, held at the Monnaie de Paris, returns with the theme “Grow,” featuring 68 galleries and focusing on plural, borderless Asian contemporary art. Newcomers 7 rue Froissart and Upstairs Art Fair add community and irreverence, while Detroit Salon launches a three-year global roadshow with its first stop in Paris.
Consuelo Jimenez Underwood, a textile artist born in 1949 in Sacramento, has spent decades creating works that confront the US-Mexico border. In 2009, she was invited to participate in the group exhibition “Xicana: Spiritual Reflections/Reflexiones Espirituales” at the Triton Museum of Art in Santa Clara, California. Faced with a blank museum wall, she decided to “blow up the border,” creating her first large-scale installation, *Undocumented Border Flowers* (2010), which features a red gash representing the border surrounded by paper flowers of the four border states. This work launched her ongoing “BORDERLINES” series, which she has produced some 15 times across the country, often collaborating with schoolchildren or recently incarcerated women. Her practice is deeply personal: her father was an undocumented immigrant from Mexico of Huichol ancestry, and she spent her childhood as a migrant farmworker, following harvests along Highway 99. Her first woven artwork, *C.C. Huelga* (1974), was inspired by the United Farm Workers flag and leader César Chávez.
An artwork by Venezuelan artist Carlos Cruz-Diez that decorated a crosswalk in Coral Gables, Florida, has been removed following a directive from the Florida Department of Transportation (FDOT) banning public artwork with “social, political, or ideological messages.” The piece, titled *Induction Chromatique* (2017), featured colorful chevron patterns and was originally installed during Art Basel 2017. The city purchased the design for $180,000 and spent $18,000 annually on maintenance, but the crosswalks were painted over last month. The gallery, Ninoska Huerta Gallery, has called for dialogue about restoration or relocation.
The Berkeley Art Museum and Pacific Film Archive (BAMPFA) will mount a comprehensive retrospective for interdisciplinary artist Maren Hassinger, opening in June 2025. Titled "Living Moving Growing," the exhibition will span her five-decade career, featuring early wire rope and tree branch sculptures from the 1970s, large-scale recreations, performances, and workshops. Co-curated by chief curator Margot Norton and senior curator Anthony Graham, the show aims to highlight Hassinger's dual practice as a sculptor and performer, with some works staged in partnership with the University of California Botanical Garden.
Blanche Lazzell (1878–1956), a pioneering American Modernist artist and printmaker largely forgotten today, is featured in the exhibition “Herself: American Artists of the 20th Century” at New York’s Lincoln Glenn Gallery. The show brings together 30 women artists spanning roughly 90 years, including Alice Neel, Grace Hartigan, Barbara Kruger, Sheila Hicks, and March Avery. Lazzell, who earned her fine arts degree at West Virginia University in 1905, studied at the Art Students League alongside Georgia O’Keeffe, traveled to Paris, and cofounded the Provincetown Printers, the nation’s first woodblock print society. She is credited with developing the white-line woodcut technique known as the Provincetown Print, and her work is held by major institutions including the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and the Smithsonian American Art Museum.
The Basel Social Club (BSC), a rogue nonprofit exhibition platform, has taken over a defunct private bank in Grossbasel for its fourth edition, offering a free-entry counter-program to the main Art Basel fair. Over 100 rooms are transformed into living artworks, featuring installations like a functional Black hair salon ("It’s a Whole Lotta Money"), a video essay critiquing online review systems ("1 ★ Review Tour"), and a jewelry boutique in the former vault ("Bijoux Solaires"). The event is described as chaotic, punk, and intimate, with performances such as Faisal Abdu’Allah giving real haircuts in a vintage barber chair.
Leonora Carrington, the British-born Surrealist artist, has seen a dramatic revival of interest in her work, with her paintings breaking auction records and her sculptures gaining new attention. However, a bitter dispute has emerged between supporters of her later bronzes and critics questioning their legitimacy, complicating her legacy. Carrington lived most of her life in Mexico and died in 2011 at age 94, but her reputation has soared posthumously, marked by a 2015 retrospective at Tate Liverpool, her influence on the 2022 Venice Biennale, and a current retrospective traveling from Palazzo Reale in Milan to Musée du Luxembourg in Paris. Her painting *Les Distractions de Dagobert* (1945) sold for $28.5 million at Sotheby’s New York in May 2024, setting a record for a British-born female artist, while her wooden sculpture *La Grande Dame (The Cat Woman)* (1951) fetched over $11.4 million in November 2024.
An anonymous buyer purchased an untitled René Magritte drawing on eBay for $1,580 in January 2025. The work, executed in ballpoint pen, colored pencil, and pencil on paper, will be auctioned by Rago/Wright in Lambertville, New Jersey on May 21 with a high estimate of $150,000—a nearly hundred-fold increase. The drawing depicts three giant white chess pieces towering over a landscape and once belonged to Mora Henskens, companion of Harry Torczyner, a friend and collector of the artist. It was acquired by Henskens from Magritte's widow, Georgette Berger Magritte, and later sold through VanDeRee Auctions before appearing on eBay.
Sotheby’s will offer Alberto Giacometti’s 1955 bronze bust *Grande tête mince (Grande tête de Diego)*, hand-painted by the artist as a tribute to his brother Diego, at its May 13 modern art evening sale in New York with an estimate exceeding $70 million. The 25-inch-tall work, one of six casts, is being sold anonymously through the Soloviev Foundation and comes from the estate of real estate magnate Sheldon Solow. It was exhibited at the 1956 Venice Biennale and spent nearly two decades at the Fondation Maeght before Solow acquired it in 1980. The sale also includes a Piet Mondrian painting estimated at $50 million at Christie’s as part of the Leonard Riggio collection.
The Frick Collection in New York has reopened after a multiyear renovation and expansion by Selldorf Architects with Beyer Blinder Belle. Under director Ian Wardropper, the museum hired ambitious young curators who introduced fresh perspectives, including online programming focused on social contexts, temporary relocation to the Whitney's old space (Frick Madison) where they presented female old masters like Rosalba Carriera and contemporary artists of color like Barkley Hendricks, and a rehang that organized works by time and place. The expansion adds new exhibition spaces, a gallery for old master drawings, and opens the Frick family's former bedrooms to the public, housing treasures like gold ground paintings and Impressionist works.
A symposium organized by Anonymous Was A Woman, an arts nonprofit, was held at New York University to discuss findings from a new survey on the status of women artists. The survey, commissioned by the nonprofit and compiled by Julia Halperin and Charlotte Burns with SMU Data Arts, revealed that women artists face significant challenges including financial precarity, lack of studio space, and limited time to create art. Over 300 attendees heard panel discussions featuring artists like Coco Fusco, Steffani Jemison, and Judith Bernstein, followed by roundtables where 40 women professionals in the arts anonymously shared insights on community and resource gaps.
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The article humorously critiques the Venice Biennale, highlighting several disappointments. It describes a Japanese pavilion installation by Ei Arakawa-Nash featuring baby dolls for diaper-changing, which a critic dismisses as a male artist over-romanticizing parenthood. Other flops include long queues for the German and Austrian pavilions, underwhelming main exhibition "In Minor Keys," and annoying self-promotional performers outside venues. The piece also laments the presence of loud American collectors and donors who dominate the event.
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The article explores the enduring presence and symbolism of the egg as a motif throughout art history. It highlights works by artists from Hieronymus Bosch and Pieter Bruegel the Elder to Salvador Dalí and Constantin Brâncuși, showing how the egg has been used in painting, sculpture, and photography to represent themes of origin, life, and perfect form.
Tate Modern has announced its 2027 exhibition program, headlined by "Monet: Painting Time," the museum's first-ever solo exhibition dedicated to Claude Monet since it opened 26 years ago. The show, opening February 27, 2027, will feature rarely seen works from global lenders and new research, following an initial presentation at the Musée de l'Orangerie in Paris opening this September to mark the centenary of Monet's death.
Almine Rech is closing her London gallery in Mayfair after more than a decade, as reported by Melanie Gerlis in the Art Newspaper. The space, which opened in 2014 on Savile Row before moving to Grosvenor Hill, hosted exhibitions by artists including Javier Calleja, Chloe Wise, Jeff Koons, and Esther Mahlangu. Rech stated that London remains "important" to her and that she plans to open something in the city in the future, but offered no specifics. The London branch was put into liquidation, with Companies House filings indicating a £6.3 million deficit, though Rech said she owes no money to artists, workers, or suppliers and described the filing as a technical step to restructure a lease. Her gallery will continue operating its other eight locations across Paris, New York, Brussels, Shanghai, Monaco, and Gstaad.
Tokyo-based poet and artist Gozo Yoshimasu has won the inaugural Serpentine x FLAG Art Foundation Prize, receiving £200,000 (approximately $272,000) along with solo exhibitions at Serpentine Galleries in London in fall 2027 and at the FLAG Art Foundation in New York in spring 2028. Yoshimasu, 87, emerged from the avant-garde scene of 1960s Tokyo and is known for blending poetry with performance, photography, audio recordings, and moving image. His work has been featured in the Shanghai Biennale, the Bienal de São Paulo, and major surveys such as “Poet Slash Artist” at Factory International. The prize was selected by a jury including Serpentine artistic director Hans Ulrich Obrist, FLAG Foundation director Jonathan Rider, MoMA curator Michelle Kuo, Museum MACAN director Venus Lau, and artist Rirkrit Tiravanija.
ArtReview editors highlight off-site pavilions and exhibitions at the 61st Venice Biennale, running from 9 May through 22 November 2026. Featured works include Li Yi-Fan's film *Screen Melancholy* at Palazzo delle Prigioni, which uses motion capture and a free-trial videogame engine to explore digital alienation and the 'enshittosphere,' and Roberto Diago's installation *Free Men* at the Pavilion of Cuban Republic, comprising rusted iron heads, fragmented wooden figures, and text works critiquing political oppression in Cuba.
Rachel Ashenden surveys the precarious state of Glasgow's visual arts scene in March 2026, following the liquidation and closure of the Centre for Contemporary Arts (CCA) after years of mismanagement, a winter shutdown in 2024, and a protest by Arts Workers for Palestine Scotland that led to arrests. She visits artists and organizers across the city, including Rae-Yen Song's exhibition at Tramway, which evolved from a research show at the now-closed CCA, and speaks with Transmission co-founder Alastair Strachan about the city's artist-led legacy.
The 61st Venice Biennale, titled "In Minor Keys" and curated by the late Swiss-Cameroonian curator Koyo Kouoh, opened in 2026. The main exhibition at the Arsenale and Giardini features works by artists such as Éric Baudelaire, Maria Magdalena Campos Pons, Mohammed Z. Rahman, Sohrab Hura, and Rose Salane, among others. The exhibition centers on themes of mourning, colonial history, slavery, and healing, with works like Baudelaire's video installation linking the flower trade to the transatlantic slave trade, and a tribute section honoring artists Beverly Buchanan and Issa Samb.