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At the Venice Biennale, Ukraine’s Pinchuk Art Centre finds fragile moments of joy amid loss

The Pinchuk Art Centre in Kyiv has transformed its Venice Biennale presentation from a glamorous celebration of young artists into a somber exhibition responding to the Russian invasion of Ukraine. This year's show, titled "Still Joy — From Ukraine into the World" (9 May-1 August) at the Palazzo Contarini-Polignac, features works by international artists like Tacita Dean and Julian Charriere alongside Ukrainian artists, as well as testimonials from soldiers collected by former marine Hlib Stryzhko. The exhibition explores how joy can persist amid trauma, with installations including pink scrolls bearing survivors' quotes, light box photographs of bombed interiors with rescued pot plants, and a sculpture of bells with displaced women's fingerprints.

Drained, Drowning, and Decay: The Best National Pavilions at the Venice Biennale

The 2026 Venice Biennale is defined by themes of ruin and decay, with standout national pavilions exploring bodily, infrastructural, and archaeological collapse. The Slovenian Pavilion features the Nonument Group repurposing materials from past Biennales into a ruin of a mosque for Bosnian Muslim soldiers from World War I. Syria presents its first national pavilion since the Civil War, with Sara Shamma invoking Palmyra, destroyed by ISIS. Germany's pavilion, titled "Ruin," features works by Henrike Naumann (who died in February) and Sung Tieu, questioning the pavilion's fascist architecture and nationalist residue. The Austrian Pavilion, curated by Florentina Holzinger, offers a visceral performance titled "Sea World." The Biennale is also marked by the abrupt resignation of its five-member jury, who refused to consider nations charged with crimes against humanity, leading to awards being chosen by public vote. Additionally, the main exhibition "In Minor Keys" was affected by the death of its curator, Koyo Kouoh.

An Unprecedented 24-Hour Strike Could Upend the Venice Biennale

An unprecedented 24-hour strike is set to interrupt the Venice Biennale's opening week on Friday, May 8, in protest of Israel's participation in the global art event. The action, organized by the activist group Art Not Genocide Alliance (ANGA), follows a letter signed by over 230 Biennale participants demanding Israel's exclusion. The strike has exposed divisions among participants, with some artists and pavilion teams weighing solidarity against the rare opportunity to platform their own political messages. The Slovenian pavilion, represented by Nika Grabar of the Nonument Group, has committed to the strike, while others like Ecuador's Tawna Collective remain undecided, balancing protest with their mission to highlight ecological crises in the Amazon.

Venice Diary Day 2: “In Minor Keys” Is a Major Statement on Perseverance and Play

The article is a diary entry from the 2026 Venice Biennale, focusing on the exhibition "In Minor Keys" curated by the late Koyo Kouoh. The author describes an emotional experience, beginning with a poem by Refaat Alareer on the Arsenale wall, and highlights works by Guadalupe Maravilla, Alexa Kumiko Hatanaka, and others that address themes of perseverance, healing, and survival. Maravilla's sculptures reference a child kidnapped by ICE, while Hatanaka's linocuts explore bipolar disorder as an adaptive trait. The show also features artist-led collectives like Denniston Hill and fierce pussy, emphasizing institution-building and world-making.

Pussy Riot protest at Venice Biennale forces Russian pavilion to briefly close

On the second day of the Venice Biennale preview, the activist group Pussy Riot staged a chaotic protest at the Russian pavilion, forcing it to temporarily close. Wearing pink balaclavas and carrying flares, about 40 activists—including members of Femen—gathered outside the pavilion, shouting slogans like "Blood is Russia's Art" and attempting to enter before being pushed back by police. Founding member Nadya Tolokonnikova led the protest, condemning Europe for allowing Russian participation despite the war in Ukraine. Separately, the Art Not Genocide Alliance (Anga) demonstrated outside the Israeli pavilion, which was locked from inside, over Israel's war in Gaza.

Pleasure, parody and propaganda: rethinking the art of illustration in a new history of the genre

D.B. Dowd's new book "Reading Pictures" offers a sweeping 400-page history of illustration, tracing the genre from the Diamond Sutra frontispiece in Tang China (AD868) to Molly Crabapple's Gaza reports in 2015. The book examines key works such as Jules Chéret's 1891 poster for the Alcazar d'Été Club, Stuart Davis's caustic covers for The Masses, and Duong Ngoc Canh's Vietnamese propaganda poster, arguing that illustrations are meant to be "read" rather than admired like museum paintings.

May Book Bag: from a guide on entering the art world to a publication about artists influenced by Ovid’s Metamorphoses

The May Book Bag article from The Art Newspaper reviews four new art-related publications. It covers "Metamorphoses: Ovid and the Arts," edited by Francesca Cappelletti and Frits Scholten, which examines Ovid's influence on Western art through works by artists like Titian, Caravaggio, and Louise Bourgeois. Other featured books include Hettie Judah's "How to Enter the Art World," a practical guide for emerging artists; "Derrick Adams: Prints," showcasing the artist's printmaking from 2019-2025; and "Whistler's Legacy" by Daniel Sutherland, which explores the legacy of James Abbott McNeill Whistler through his close associates.

Treasures From Matthew Perry’s Estate Head to Auction for a Good Cause

Heritage Auctions will sell a trove of artifacts from Matthew Perry's estate starting June 5, including scripts and memorabilia from the sitcom *Friends*, artworks by Banksy and Mel Bochner, and personal items like a 3D portrait of his invented superhero "Mattman." Proceeds benefit the Matthew Perry Foundation, a nonprofit focused on ending addiction stigma and expanding access to evidence-based care, founded after the actor's death in 2023.

Venice Biennale’s fierce pussy Group Says City Censored Posters About Queer and Trans People

The lesbian artist collective fierce pussy, comprising Nancy Brooks Brody, Joy Episalla, Zoe Leonard, and Carrie Yamaoka, claims that the city of Venice censored their posters for the Venice Biennale. The posters, which feature phrases like "Welcome queers and trans people" and "we are queers and trans people" alongside a list of occupations, were intended to be pasted across the city. After the city blocked the full-scale posting, the group created stickers and placed them on walls, windows, and advertising spaces. As a concession, La Biennale installed the original posters inside the Arsenale entrance.

Lubaina Himid’s British pavilion at the Venice Biennale review – alienation in a green and pleasant land

Lubaina Himid's installation at the British pavilion of the Venice Biennale presents monumental paintings and a wall of painted oars depicting tailors, cooks, architects, gardeners, and sailors—figures who shape Britain. The work is accompanied by an audio piece of bucolic country sounds, but the black figures in the paintings exchange sideways glances of discomfort, questioning whether they truly belong. The exhibition is anchored by 26 philosophical questions on the wall, such as "Can flies settle here?" and "Can poison taste delicious?"

BBC ‘Buried’ Footage of Banksy at NYC Mural Site, Former Reporter Claims

Former BBC New York correspondent Nick Bryant claims the BBC suppressed footage he captured of Banksy at a mural site in New York City in March 2018. In a Substack post, Bryant recounts being tipped off by Banksy's PR team about a new artwork at the Houston Bowery Wall, where he and his cameraman filmed the artist—described as a middle-aged man in a black beanie and grey coat—fleeing the scene with fresh paint on his fingers. Despite believing he had a world exclusive, Bryant says BBC editors in London decided not to air the footage, citing concerns about unmasking the artist and preserving the mystery for audiences, including a senior colleague's daughter who compared revealing Banksy's identity to telling children there is no Santa Claus.

After His Untimely Death, Rutherford Chang’s Survey Rewrites What a Square Can Do

Rutherford Chang, who died last year at age 45, is the subject of a posthumous survey at UCCA Center for Contemporary Art Beijing titled "Hundreds and Thousands." The exhibition centers on Chang's socially engaged works that explore value, circulation, and systems through the deceptively simple form of the square. His best-known piece, "We Buy White Albums" (2013–25), involved amassing roughly one percent of the first pressing of the Beatles' "White Album," highlighting how objects accrue personal and economic worth through use and history. Other works include melting 10,000 copper pennies into a cube and assembling Wall Street Journal portraits from 2008 into a grid that captures a year of crisis and change.

Lucas Museum Aims to Tell the History of Storytelling via 1,200 Objects

The Lucas Museum of Narrative Art in Los Angeles has announced details of its inaugural exhibitions, set to open on September 22, 2026. Founded by filmmaker George Lucas and his wife Mellody Hobson, the museum will feature over 1,200 objects across 30 galleries, tracing the history of visual storytelling from ancient sculptures to Renaissance paintings, photography, comics, and manga. The collection draws from Lucas's personal trove of more than 40,000 works of illustrator art, including pieces by N.C. Wyeth, Norman Rockwell, Frank Frazetta, Beatrix Potter, and Jack Kirby, as well as large-scale murals and photography by artists like Judy Baca and Dorothea Lange. The museum, designed by Ma Yansong of MAD Architects, also includes archives of Lucas's film sets, props, and costumes.

Statue with Banksy signature of man blinded by flag appears in London

A new statue bearing Banksy's signature has appeared in Waterloo Place, central London, depicting a man marching forward with a large flag obscuring his face. The elusive artist has not yet confirmed the work, though he typically posts confirmation on his website after public discovery. The statue stands near monuments to Edward VII and Florence Nightingale, and follows Banksy's previous sculptural works like *The Drinker* (2004) and recent murals addressing homelessness and protest.

Nancy Holt review – cosmic thrills as the universe’s hidden power is unleashed

The Guardian reviews a major UK exhibition of land artist Nancy Holt (1938-2014) at Goodwood in West Sussex, the largest show of her work to date. The exhibition features two large outdoor installations—Ventilation System, a metallic tubular structure resembling building lungs, and Hydra’s Head, six concrete pools arranged like the Hydra constellation in a chalk quarry—alongside indoor photographs, diagrams, and light works. The review praises the cosmic scale and bodily connection of the outdoor pieces but finds the indoor works less effective at conveying Holt’s themes of universal vastness and interconnectedness.

Wildenstein dispute over Monet work highlights art market opacity

A long-running dispute involving the Wildenstein art dynasty has resurfaced over a 2004 transaction for Claude Monet's *Adolphe Monet Reading in a Garden* (1867). The painting was acquired by Guy Wildenstein through a €4.5m deal that included works by Pierre Bonnard and Alfred Sisley, among them Monet's *Marine, Amsterdam* (1874). That work was later resold via Christie's, but a 2020 sale attempt revealed that the original canvas had been lost during a transfer process, significantly reducing its value. Court-appointed specialists concluded in 2024 that the alteration predated the transaction and that the gallery likely knew of the damage. The sellers have filed a claim alleging "vitiated consent" under French law, with a court date set for 7 May in Rouen. The disputed Monet now reportedly belongs to billionaire Larry Ellison.

The forgotten Chinese conceptualists: Melbourne show brings together works by New Measurement Group

An exhibition at Buxton Contemporary in Melbourne, titled "Poetry Goes No Further Than Language: a Historical Moment of Art Becoming Art Again," brings together the complete artistic output of the New Measurement Group, a pioneering Chinese conceptual art collective from Beijing, alongside four conceptual experiments by Shanghai-based artist Qian Weikang. Curated by Carol Yinghua Lu and artist Liu Ding, the show aims to reassess early Chinese conceptual art, featuring works by the New Measurement Group (Chen Shaoping, Gu Dexin, Wang Luyan), pieces from the New Wave art movement, and new commissions by Melbourne artist Darcey Bella Arnold. The curators faced challenges locating the group's five publications, including one purchased on eBay from Europe, and used re-enactment and re-fabrication to recreate lost works like Qian's "Ladder Poem" (1990).

Inside the Inaugural Edition of Art Cologne Palma Mallorca

The inaugural edition of Art Cologne Palma Mallorca took place from April 9–12, 2026, attracting 88 galleries from 20 countries and over 10,000 visitors to the Mediterranean island. The fair, held at the Palau de Congressos Convention Centre, reported strong sales and sold-out weekend days, with Artistic Director Daniel Hug praising the high level of engagement and positive response from both exhibitors and attendees. A second edition has already been scheduled for April 1–4, 2027.

Newsmakers: Nalini Malani Lets the Walls Speak with a New Installation in Venice

Nalini Malani's latest installation, *Of Woman Born*, opens at the Magazzini del Sale in Venice during the Venice Biennale. Commissioned by the Kiran Nadar Museum of Art, the work projects hand-drawn animations onto the crumbling brick walls of a 15th-century salt warehouse, creating a cave-like environment where images flicker like ancient cave paintings. The installation draws on tens of thousands of drawings and incorporates mythology, literature, and sound, with a central focus on the myth of Orestes to explore themes of violence, displacement, and gender politics. Malani has also extended her recurring 'Skipping Girl' figure across Venice via posters and public signage to guide viewers to the exhibition.

Is A Random Unknown Artist More Valuable Than Picasso? AI Thinks So.

An experiment using a custom AI model to evaluate artistic value independent of market context found that the model assigned a seven-figure price to an unknown street artist's work while valuing a Picasso at under $1,000. The project, run by an art journalist with a data scientist and an AI expert, trained a Fine Art Large Vision Model on millions of images and price data. Without metadata like artist name or gallery affiliation, the model's predictions were technically interesting but commercially useless; only when those market signals were added did predictions align with real auction outcomes.

The Art Trade Is Taking Calculated Risks With A.I.

The article examines how the art trade is cautiously experimenting with artificial intelligence, noting that while AI tools are being developed to attract newer collectors, the industry remains heavily reliant on trust and personal relationships that technology cannot replicate. It also reports on Fair Warning's new 'No Warning' sealed-bidding auction format, reflecting a rise in private auctions, and highlights a Sotheby's New York sale of the Jean and Terry de Gunzburg collection that set a U.S. record for design auctions at $96 million, led by a set of 15 mirrors by Claude Lalanne for Yves Saint Laurent that sold for $33.5 million.

When archaeology was dominated by men | Letters

A reader named Elke Bachler writes a letter to The Guardian challenging a sentence in a review of Thomas Laqueur's book *The Dog's Gaze*. The review described a prehistoric scene as showing "a boy and a dog" standing together in wonder before cave art. Bachler argues there is no evidence the child was a boy, noting that archaeology has historically been dominated by men who interpreted evidence through contemporary gender roles.

How Art Firms Are—or Should Be—Using A.I. Right Now

Art firms are increasingly experimenting with artificial intelligence, but concrete use cases remain limited and industry-specific tools are still in their infancy. A new partnership between Bonhams and tech company ARTDAI aims to apply AI to market analytics, valuation, and specialist research, while companies like Artsy and Artnet are integrating AI capabilities into their platforms. Industry experts, including former Art Basel chief Marc Spiegler, note that the art market's small size has historically discouraged tech development, but AI now makes high-performance tools accessible to smaller businesses.

Venice Biennale’s Prize Ban on Israel and Russia Falls Short for Critics

The jury of the 2026 Venice Biennale has ruled that Israel and Russia will be ineligible for the Golden and Silver Lion prizes, citing International Criminal Court charges of crimes against humanity against their leaders. The decision follows years of activism and political pressure, with the European Union withdrawing €2 million in funding from the event in protest of Russia's participation. While groups like Art Not Genocide Alliance praised the move as an unprecedented step, critics argue it falls short of a full ban on participation. Israel's artist representative, Belu-Simion Fainaru, condemned the policy as discriminatory, and an open letter signed by 70 artists and curators called for excluding all regimes committing war crimes, including the United States.

Berlin Museum Oversees Digital Resurrection of Hundreds of Paintings Destroyed During World War II

Berlin's Gemäldegalerie is digitally reconstructing hundreds of Old Master paintings by artists like Rubens, Veronese, van Dyck, and Caravaggio that were destroyed in fires near the end of World War II. The project uses high-resolution scans of glass negatives, primarily photographed by Gustav Schwarz between 1925 and 1944, to create detailed online renderings that will be publicly accessible for viewing and download later this year.

The Wonderful World that Almost Was by Andrew Durbin review – the queer artists who shaped New York cool

Andrew Durbin's new book, 'The Wonderful World that Almost Was,' is a double biography of painter and sculptor Paul Thek and photographer Peter Hujar. It chronicles their artistic maturation, their open and unapologetic gay relationship, and their central role in defining the 'cool' of the New York creative scene from the 1950s to the mid-1970s, before their deaths from AIDS.

South Korean ceramic artist Jongjin Park wins 2026 Loewe Foundation Craft Prize.

South Korean ceramic artist Jongjin Park has won the 2026 Loewe Foundation Craft Prize for his piece "Strata of Illusion" (2025), a partially-collapsed seat-like form made from paper and coated in porcelain slip. The award comes with a €50,000 ($58,700) prize, and Park's work will be exhibited alongside other shortlisted entries at the National Gallery Singapore, opening tomorrow and running through June 14.

The tiniest event can tear a hole. Sara MacKillop by Margaret Kross

Sara MacKillop's exhibition "The Cutaway View" at Good Weather in Chicago presents sculptures made from humble analog materials like blank wall calendars, empty shopping bags, and gift wrapping. The London-based artist alters these objects with minimal interventions—such as surgically cut holes in shopping bags to accommodate vinyl records—drawing attention to the ephemera and texture of retail culture. Her series "Calendar Houses" (2021–ongoing) uses archive boxes and wall calendars to create miniature modernist dwellings that critique systems of order and self-optimization.

Billboards celebrating peace will arrive in L.A. as part of the Broad's Yoko Ono exhibit

Yoko Ono will install seven digital billboards across Los Angeles bearing peace messages like "THINK PEACE" and "IMAGINE PEACE," as part of her upcoming exhibition "Yoko Ono: Music of the Mind" at the Broad museum opening May 23. The billboards echo her 1969 "WAR IS OVER!" campaign with John Lennon. Ancillary programming includes re-creations of her performance works "Cut Piece" (1964) and "Sky Piece to Jesus Christ" (1965), plus a concert series "Yoko Only" guest-curated by Yuka Honda featuring Yo La Tengo, Nels Cline, Sleater-Kinney, and others.

브루클린뮤지엄: 패션디자이너 아이리스 반 페르펜전 'Iris van Herpen: Sculpting the Senses'(5/16-12/6)

The Brooklyn Museum will present the North American debut of "Iris van Herpen: Sculpting the Senses" from May 16 to December 6, 2026. The exhibition features over 140 haute couture creations by Dutch fashion designer Iris van Herpen, displayed alongside contemporary art, design objects, and scientific artifacts. It explores her fusion of traditional craftsmanship with cutting-edge technology, sustainability, and themes from nature and science. The show first opened at the Musée des Arts Décoratifs in Paris in 2023 and has traveled to QAGOMA, ArtScience Museum Singapore, and Kunsthal Rotterdam. The Brooklyn presentation coincides with the museum's annual Brooklyn Artists Ball, where Van Herpen will be honored.