Artsy Editorial explores the complexities of collecting performance art, explaining that ownership typically involves acquiring documentation, scores, or rights to reactivate a performance rather than the live event itself. The article outlines how artists, dealers, and collectors navigate transactions for this ephemeral medium, addressing the challenges of preservation, display, and market value.
Maxwell Graham gallery in New York is presenting a joint exhibition featuring works by artists Hans Haacke and Louise Lawler. The show runs from March 5 to April 18, 2026, and is documented with 18 images on the source website.
Arghavan Khosravi's solo exhibition "What Remains" opens today at Uffner & Liu in New York, presenting a new body of sculptural paintings that fuse Persian architecture with Christian altarpieces. The works explore women's fight for equality under censorship and religious dogma in Iran, featuring figures restricted by domestic objects, hinged shutters, and suspended cords, with fragments of limbs or faces visible. Key pieces include "Suspended" (2026), "Bearing" (2026), and "The Whisper" (2026), running through July 2.
Zimbabwean artist Moffat Takadiwa transforms discarded consumer waste—including computer keys, toothbrush heads, and plastic combs—into intricate, tapestry-like sculptures. His latest solo exhibition, "The Crown!" at Semiose in Paris, features large-scale works foraged from landfills in Harare’s Mbare neighborhood. These meticulously sorted and woven objects create organic patterns that mask their industrial origins, forcing a confrontation with the physical reality of global overconsumption.
Cultured profiles Jesús Hilario-Reyes, a 29-year-old New York-based artist who describes themself as “anti-disciplinary,” working across performance, sound, video, and sculpture. Inspired by queer rave culture, migration, Western carnivals, and Puerto Rico’s hurricane-worn mangrove forests, they have performed at Documenta, the Kitchen, Gladstone Gallery, and the Museum of Contemporary Art, Chicago. In the interview, Hilario-Reyes discusses key influences from graduate school teachers, the importance of spontaneity and presence in their practice, and their underrated studio tool—an electrical die grinder.
Paula Rego's exhibition "Story Line" is on view at Victoria Miro in London, featuring works that explore narrative through drawing and painting. The show highlights Rego's organic, hand-driven creative process, where drawings evolve into unexpected forms, as described in her own words.
The Louisiana Museum of Modern Art in Denmark is hosting "Headstrong," the first museum exhibition in Scandinavia dedicated to Jean-Michel Basquiat. The show reunites 49 works on paper created between 1981 and 1984 that focus on the artist's depiction of the head—works Basquiat originally kept for himself and which were only discovered after his death. The exhibition includes the record-breaking 1982 "Untitled" painting, which previously sold for $110.5 million.
The New Museum has officially reopened its downtown New York campus following a significant expansion designed by the architectural firm OMA. The renovation introduces a massive internal staircase that connects all four floors, resolving long-standing circulation issues previously caused by a reliance on elevators. To mark the reopening, the museum debuted a site-specific facade sculpture by Tschabalala Self titled "Art Lovers" and a massive inaugural group exhibition, "New Humans: Memories of the Future," featuring over 150 international contributors.
Major museums across the United States are launching significant exhibitions in 2026, including retrospectives of Frida Kahlo in Houston and Nick Cave in Washington, D.C., and a landmark show on sculptor Edmonia Lewis in Salem. These shows are part of a broader cultural moment, with many institutions mounting exhibitions to coincide with the nation's 250th anniversary, aiming to reframe art historical narratives and highlight previously overlooked artists.
At this year's Paris Photo, the MUUS Collection presented "Looking Out, Looking In: Larry Fink and Rosalind Fox Solomon with Lisette Model," an exhibition that placed the work of photographers Larry Fink (1941-2023) and Rosalind Fox Solomon (1930-2025) in dialogue with that of their teacher, Lisette Model (1901-83). The MUUS Collection, founded by Michael W. Sonnenfeldt, owns the archives of Fink and Solomon, acquired in 2024 and 2021 respectively, and partnered with the French gallery baudoin lebon to include Model's prints. The presentation was organized by Anne E. Havinga, curator of photography at the Museum of Fine Arts, Boston, and highlighted Model's pedagogical legacy as a teacher at the New School for Social Research who emphasized personal vision and creative independence.
The second week of November 2025 marks Lagos Art Week, featuring the 10th edition of Art X Lagos, West Africa’s leading international art fair, and the 15th edition of Lagos Photo Festival, now a biennial. A new symposium, Re: assemblages, hosted by the Alliance Française de Lagos and organized by the Guest Artists Space and Yinka Shonibare Foundations, brought together cultural practitioners from across Africa and the diaspora to discuss African and Afro-diasporic art archives. Key takeaways include the importance of archives as living tools for shaping the future, concerns about restricted access to the archives of late curators Okwui Enwezor and Bisi Silva, and the need for restitution efforts to incorporate African knowledge systems and language, not just the return of objects.
This article, written by Brian Hieggelke, serves as an editorial introduction to a special issue focused on the visual art scene in Wisconsin. It contrasts the state's art world with that of neighboring Illinois, highlighting Wisconsin's unique, friendly quirkiness and its abundance of self-taught artists. The piece recounts a visit to the inaugural Door County Contemporary art fair in Fish Creek, noting the small scale but immense charm, and the multi-hyphenate nature of Wisconsin's art players who are simultaneously artists, gallerists, and writers. The article then provides a table of contents for the issue, covering topics from the Kohler Arts Residency to the Wisconsin Museum of Quilts and Fiber Arts, and introduces several contributors including artists, writers, and educators.
Washington University in St. Louis community members—including students, faculty, and alumni—share their favorite places to view visual art around the St. Louis region during the summer. Recommendations include the St. Louis Virtuoso Collective, a co-op gallery of over 50 local artists on Cherokee Street; the Contemporary Art Museum St. Louis, which is showing exhibitions like “Like Water” and “Make the River Present”; the Saint Louis Art Museum, featuring works by Van Gogh, Sorolla, and Cézanne; and neighborhood public art projects in areas such as Holly Hills, The Grove, and the Delmar Loop.
ArtDog Istanbul's editors have curated a selection of standout exhibitions opening across Istanbul in June 2025. Highlights include 'A Day’s Story, A Lifetime’s Truth' at Galeri 77, a joint show by Bayram Demir and İlker Kayalı exploring personal memory and collective mythology; solo exhibitions by Jorinde Voigt ('365 Seasons') and Mustafa Hulusi ('Breathing In the World') at Dirimart's two locations; 'Extraordinary Minas' at Pera Museum, celebrating its 20th anniversary with Kütahya tile and ceramic works by Minas Avramidis; and Ali Kazma's 'Landscapes of the Mind' at Istanbul Modern, alongside shows by Nermin Er at Galeri Nev Istanbul and Pelda Aytaş at Gülden Bostancı.
Artist and curator Adam Heft Berninger is opening a new contemporary art gallery called Heft in New York City's Lower East Side on April 23, 2025. The gallery evolves from Berninger's curatorial project Tender into a permanent space, debuting with the group exhibition "Truth or" featuring generative art pioneers including Mario Klingemann, Katie Morris, Michael Mandiberg, and a collaboration between Edward Burtynsky and Alkan Avcıoğlu. The show runs through May 10, 2025, and includes works by Kevin Abosch, Gretchen Andrew, and others.
Bidding has concluded for KAWS's 2019 screenprint, *Untitled (KAWS X Mocad)*, a limited-edition work produced for the artist's solo exhibition "Alone Again" at the Museum of Contemporary Art Detroit. The work was offered through Palm Beach Modern Auctions, with detailed condition reports and terms available to prospective bidders.
The article highlights standout booths at the Independent Art Fair, newly relocated to Pier 36 in Manhattan's Lower East Side. With 76 exhibitors, 26 of whom are presenting an artist's New York debut, the fair features notable presentations including Sprüth Magers' restaging of Gretchen Bender's 'TV Text & Image (PEOPLE WITH AIDS)', Omar Mismar's debut with abstract paintings on salvaged PVC banners referencing Lebanese protests, Carrie Schneider's large-format photographs from the Venice Biennale, and works by Kim Stolz and Raphael Egil at YveYANG. The fair runs through Sunday and aims for greater attendance and institutional influence.
Miart, Milan's international modern and contemporary art fair, is marking its 30th anniversary with significant changes for its 2026 edition. The fair is moving to a new venue, the South Wing at Allianz MiCo designed by Mario Bellini Architects, and adopting a more compact, three-floor layout designed to foster cross-presentation and dialogue. It has also announced a new theme, "New Directions," inspired by the jazz legacies of John Coltrane and Miles Davis, and a fresh graphic identity from design studio Leftloft.
Konstantina Krikzoni's solo exhibition "ARMATURA" at L'Appartement in Geneva presents a new suite of paintings born from a period of intense solitude. The works explore painting as a medium for self-expression, using the metaphor of an armature—the metal framework that supports sculptures—to represent an inner structure of fortification, endurance, and survival. The paintings feature elusive female figures and landscapes rendered with delicate layers of pigment, evoking ancient myths and goddesses, with works like *Warrior I* (2025), *L.K. I Killed the Pink* (2025), and the titular *Armatura* (2025) conveying emotional rawness and psychological drama.
Ceal Floyer, a conceptual artist known for her spare, witty sculptures that transformed everyday objects into thought-provoking art, died on Thursday at age 57 after a long illness. Her Berlin-based gallery Esther Schipper, along with Lisson Gallery and 303 Gallery, confirmed her death. Floyer gained international recognition for works like *Light Switch* (1992–99), which projected an image of a light switch onto a wall, and *Bucket* (1999), a plastic bucket with a recorded dripping sound but no water. She participated in major exhibitions including the Venice Biennale (2009) and Documenta (2012), and won the Preis der Nationalgalerie in 2007.
Elizabeth Denny has been appointed as the new director of the Outsider Art Fair, which was founded in 1993 and specializes in art brut, folk art, and self-taught art. Denny previously served as director at Eric Firestone Gallery and founded her own gallery in 2013 with locations in New York and Hong Kong. She holds degrees from the Courtauld Institute of Art and Columbia University, lectures at Columbia and Sotheby’s Institute, and is a founding board member of Less Than Half, an organization supporting underrecognized women artists. The fair's next edition is scheduled for March 2026 in New York.
Artnet News released its mid-year intelligence report on the art market, led by Katya Kazakina's analysis titled “The Storm Hits the Art Market: Who’s Getting Swept Away?” The article cites major gallery closures including Blum, Venus Over Manhattan, and Kasmin, and quotes a collector warning that “blood will flow in the streets” before the market recalibrates. Kenny Schachter, an artist, dealer, and Artnet columnist, publicly criticized the coverage on Instagram, calling it alarmist and arguing that the market is “fucking fine.” The exchange has sparked a debate about the fairness and responsibility of art-market reporting.
Frieze has announced the launch of Frieze House Seoul, a year-round exhibition and project space in the Yaksu-dong neighborhood, set to open alongside the fourth edition of Frieze Seoul from September 3 to 6, 2025. Housed in a four-story building dating from 1988, the venue will host short-term gallery residencies, special projects, and curated exhibitions beyond the fair dates, and features a permanent site-specific installation by SANAA founders Kazuyo Sejima and Ryue Nishizawa. The news comes as Frieze works to extend its five-year partnership with Kiaf, the fair run by the Galleries Association of Korea, which began in 2022 and is set to expire in 2026.
Urban explorer artist Isaac Wright, known as 'Drift,' was arrested by NYPD officers at the opening of his 'Coming Home' exhibition at Robert Mann Gallery in Chelsea. He faces a misdemeanor trespassing charge for allegedly climbing the Empire State Building to take a photograph featured in the show. Wright, who has been arrested four times for similar acts, was released on bail and spoke to ARTnews about the unexpected arrest in front of 400 gallerygoers.
A painting in a private UK collection, long considered a workshop copy of Rembrandt's 'Old Man with a Gold Chain' at the Art Institute of Chicago, has been newly attributed to Rembrandt himself by scholar Gary Schwartz. Schwartz argues the quality and lack of corrections suggest Rembrandt, not a pupil, created the canvas replica while the original process was still fresh.
Cultured magazine presents advice from ten acclaimed art collectors for newcomers navigating the art world. The collectors—including Will Bennett, Laurent Asscher, Chad Leat, Rob Thomas-Suwall, and Kelly Williams—share tips on trusting one's instincts, focusing on quality over price, visiting museums and galleries, and taking risks. They emphasize that building a collection is a personal journey, not a prestige-driven pursuit, and encourage beginners to ask questions, use tools like the See Saw app, and support local institutions.
The Penn Cultural Heritage Center (PennCHC) at the University of Pennsylvania's Penn Museum will launch the National Survey of Museum Collecting Practices on May 20, running through August 20. This first-of-its-kind survey, part of the Museums: Missions and Acquisitions Project (M2A Project), will collect data on acquisitions, deaccessions, loans, provenance research, and policies from U.S. nonprofit museums and libraries. Results will be published in 2027, with only generalized insights to maintain anonymity.
The New Art Dealers Alliance (NADA) has announced the exhibitor list for its 12th New York edition, featuring over 110 galleries from around the globe. Scheduled for May 13–17, 2026, the fair returns to the Starrett-Lehigh Building in West Chelsea, showcasing a mix of 45 NADA members and 51 first-time participants. Highlights include the TD Bank Curated Spotlight, which will be organized by Anthony Elms, the artistic director of the Mattress Factory.
A new report from Remuseum, an initiative of the Crystal Bridges Museum of American Art funded by collector David Booth and the Ford Foundation, reveals that American museums are struggling with post-pandemic visitation declines and rising costs, yet they invest less than three percent of their operating budgets on marketing—comparable to mining and construction industries. The report contrasts historical resistance to marketing, exemplified by former Met president William Luers, with the Getty's Harold Williams, who embraced it. Case studies from the Art Gallery of Ontario and the Peabody Essex Museum show how museums can use audience personas to boost attendance, but current spending remains far below the 13.9 to 18.7 percent of revenues that consultant Colleen Dilenschneider says is needed to reach full market potential.
MEGA Art Fair held its third edition in Milan, transforming a former perfume factory into a social and exhibition hub during Milan Art Week and Design Week. The fair, which ran from midday to midnight over an extended period, positioned itself as an alternative to traditional art fairs by prioritizing relaxed social connection, community engagement, and public programming over a purely commercial atmosphere.