Marisa Adesman, a rising artist based in Chicago, is presenting her solo exhibition “Under the Rose” at Anat Ebgi in New York, featuring six new paintings that blend trompe l’oeil and surrealism to create nocturnal interior scenes of magic, eroticism, and domestic disobedience. The show follows her Los Angeles debut “Forklore” in 2021 and her first museum exhibition at KMAC Contemporary Art Museum in 2023, where her painting sold for $90,000 at Art Basel Miami.
Independent curator Brice Arsène Yonkeu has organized "Ever So Present II: Between Home and Elsewhere," the second installment of a two-part exhibition at Gagosian's Park & 75 space in New York. The show features four emerging artists of African descent—including Emma Prempeh and Josèfa Ntjam—whose works in painting, photomontage, and assemblage explore themes of diaspora, memory, migration, and belonging. Yonkeu is the first curator invited to participate in dot.ateliers' new residency program, a foundation and exhibition space launched by Ghanaian painter Amoako Boafo in Accra in 2023. The exhibition expands on questions raised in the first iteration held in Accra, asking what remains "ever so present" in diasporic art across borders and cultures.
The Art Angle podcast team reviews three major art stories from June. First, Canyon, a new museum-like venue dedicated to immersive video art, has been announced for New York's Lower East Side. Second, the team discusses the outcomes of Art Basel in Switzerland, the art world's most important fair, and ongoing volatility in art pricing. Third, they examine the buzz—and mockery—surrounding Oscar-winning actor Adrien Brody's painting exhibition in New York City. Culture editor Min Chen joins host Ben Davis and senior editor Kate Brown to analyze these developments.
Liz Collins created two monumental 16-foot-long tapestries for the 2024 Venice Biennale, titled *Rainbow Mountains: Moon* and *Rainbow Mountains: Weather* (both 2023). Initially conceived as a single 40-foot weaving, the project proved too ambitious and was split in two. Collins worked at the TextielLab in Tilburg, Netherlands, switching to a lighter yarn after a failed trial, and ultimately brought the finished works to New York in duffel bags before curator Adriano Pedrosa selected them for the Biennale. The textiles depict mountain ranges emitting rainbows through dark skies, exploring themes of duality—danger and joy, precarity and euphoria.
Justin Vivian Bond, a multidisciplinary artist and performer, is profiled in ARTnews as part of their Newsmakers series. Bond, who received a MacArthur Foundation “genius grant” in 2024, discusses their upcoming performances at Joe’s Pub in New York, including a show titled “Well, Well, Well” inspired by lesbian singer-songwriters and the novel *The Well of Loneliness*. They also mention resurrecting their duo Kiki & Herb in London, and reflect on their 2017 exhibition at the New Museum, “Trigger: Gender as a Tool and a Weapon,” whose wallpaper is now installed at the V&A East Storehouse.
On Wednesday in Paris, Sotheby's auctioned a collection of Napoleonic artifacts from the private collection of prominent French antiques dealer Pierre-Jean Chalençon, generating €8.7 million ($9.6 million) against a €6 million estimate. The 112-lot sale included imperial furniture, Old Master paintings, and personal relics such as Napoleon's worn stockings and a copy of his marriage certificate. Highlights included a portrait by Jean-Baptiste Mauzaisse that sold for €863,600 (20 times its estimate) and the only surviving remnant of Napoleon's first will, which fetched €482,600. However, Napoleon's bicorne hat underperformed, selling for €355,600 against a €600,000 low estimate, amid provenance questions raised by French newspaper Le Figaro.
Cara Romero, an enrolled citizen of the Chemehuevi Indian Tribe, is the subject of her first institutional solo exhibition, "Panûpünüwügai," at Dartmouth's Hood Museum in New Hampshire. The show features her photography that fuses Indigenous ancestral memory with pop culture, depicting Native women as powerful agents reclaiming space against colonial stereotypes. Romero has also been featured in over 10 museum group exhibitions since last fall, including shows at the Hudson River Museum and Cantor Art Center.
The Digital Art Mile, Basel's first-ever digital art fair, opened its second edition on Monday at the city's Kult Kino Camera cinema, running through Sunday. Founded by digital art adviser Georg Bak and ArtMeta founder Roger Haas, the fair features panels, conferences on the digital art market, and the headline exhibition “Paintboxed,” which explores the history of the Quantel Paintbox. In a calmer, more academic atmosphere than Art Basel, ARTnews asked 10 prominent digital art figures to select their favorite artwork from the fair, with responses highlighting works such as Kim Asendorf's "Monogrid 90," XCOPY's "Last Selfie," and Matt Kane's "Gazers 200."
Art collector and real estate financier Aby Rosen paid $55 million for the Gilded Age landmark building at 190 Bowery in New York, which had been owned for decades by photographer Jay Maisel. Maisel bought the property—the former Germania Bank building—around 1966 for a reported $102,000, making the sale a dramatic example of New York real estate appreciation. The building, located near the New Museum, was listed on Rosen's company RFR Holdings before he entered a contract to purchase it in August, and was subsequently re-listed for sale through Cushman & Wakefield.
A tourist at the Uffizi Gallery in Florence damaged an 18th-century portrait of Ferdinando de’ Medici by Anton Domenico Gabbiani while taking a selfie on June 21. The man tripped backward onto the canvas, causing a small tear near the subject's right foot. Museum staff quickly removed the painting for assessment, and the work is expected to return to display soon in the exhibition “Florence and Europe: Arts of the Eighteenth Century.” The perpetrator was apprehended and reported to authorities; director Simone Verde vowed to prosecute and implement “anti-selfie measures.”
The UK government has finalized design plans for a national memorial to Queen Elizabeth II in London’s St James’s Park. A team led by architect Norman Foster of Foster + Partners, including British-Nigerian artist Yinka Shonibare CBE RA, will create a natural stone path connecting royal gardens, a translucent cast-glass balustrade on the Blue Bridge inspired by the Queen’s wedding tiara, and figurative sculptures of the Queen and Prince Philip. Landscape designer Michael Desvigne is also part of the team, working with the Queen Elizabeth Memorial Committee. The final design will be announced in April 2026, coinciding with what would have been the Queen’s 100th birthday, with a budget of £23 to £46 million from public funds.
A 17th-century portrait of Grand Prince Ferdinando de’ Medici was damaged at the Uffizi Galleries in Florence when a tourist attempted to take a photo mimicking the prince's pose. The young Italian man tripped over a barrier, fell onto the painting, and tore the canvas. Security cameras captured the incident, and the tourist has been identified and reported to police, potentially facing criminal charges and repair costs.
Romania has secured a "long-term hold" on El Greco's painting *Saint Sebastian* (1610–1614), which was pulled from a Christie's New York Old Masters sale in February. The work is claimed by Romania as unlawfully taken from its national collection in 1947. The painting will remain at Christie's until legal proceedings resolve the dispute. Meanwhile, Italian sculptor Arnaldo Pomodoro died in Milan at age 98, and abstract painter Thornton Willis died in New York at 89. Other news includes a letter from National Gallery director Gabriele Finali defending the Rubens attribution of *Samson and Delilah*, Japan's curatorial appointments for the 2026 Venice Biennale, and a Bristol City Council fundraiser to acquire an early JMW Turner painting.
The Louvre Museum in Paris failed to open on Monday morning after front-of-house staff, including security guards, gallery attendants, and receptionists, staged a spontaneous protest over chronic understaffing and overcrowding. The walkout began after a routine internal meeting, forcing thousands of visitors to wait outside for hours without explanation. The museum eventually opened at 2:30 p.m. local time and offered refunds to affected ticket holders. The protest follows a leaked letter from director Laurence des Cars to culture minister Rachida Dati detailing severe infrastructure problems, including temperature fluctuations endangering artworks, leaky roofs, and inadequate visitor facilities.
Art Basel, the flagship art fair, returns to Basel, Switzerland from June 17 to 22 amid a period of market contraction and geopolitical instability. The article explores key questions surrounding the fair, including whether the proliferation of new Art Basel editions in Paris and Doha is diluting interest in the original Swiss event. Gallerists and collectors weigh in, noting that while Paris is rising in importance, Basel retains unmatched prestige and draws a genuinely engaged international audience. The piece also highlights the fair's new "Premiere" section, which spotlights mid-career and established artists, featuring London gallery Edel Assanti's debut presentation of American artist Lonnie Holley.
On June 24, New Yorkers will vote in the Democratic primary for mayor, with candidates including embattled incumbent Eric Adams, former governor Andrew Cuomo, and Democratic Socialist Zohran Mamdani, who is gaining support from artists and art dealers. The article outlines the arts-related positions of several candidates: City Council Speaker Adrienne Adams restored $53 million in cultural funding after proposed cuts; Eric Adams has an uneven record, having proposed cuts but later launching the 'NYC Create in Place' pilot program; and Andrew Cuomo's arts stance is mentioned but not detailed.
Leonard Lauder, the eldest son of Estée Lauder and a billionaire cosmetics executive, died at age 92. He served as chairman emeritus of Estée Lauder Companies, having previously been president and CEO, and grew the company's sales from $800,000 to over $16 billion. A major art philanthropist, in 2013 he donated 81 Cubist works worth over $1 billion to the Metropolitan Museum of Art, including pieces by Picasso, Braque, Léger, and Juan Gris. He also served as chairman emeritus and trustee at the Whitney Museum.
The Texas Historical Commission announced that buildings repurposed by minimalist artist Donald Judd in Marfa, Texas, have been added to the U.S. National Register of Historic Places. Approved by the National Park Service in May 2025, the designation expands the existing Fort D.A. Russell Historic District to include 15 buildings and a large-scale installation, all altered or created by Judd between 1973 and his death in 1994. The properties are managed by the Chinati Foundation and the Judd Foundation, which operate as separate entities. This is the second Judd-linked historic district in Marfa, following the Central Marfa Historic District’s designation in 2022.
The New York Academy of Art held its 26th annual "Take Home a Nude" benefit auction at Sotheby's Upper East Side headquarters, honoring artist John Alexander. The event featured 112 artists, including Ryan McGinness, Natalie Frank, Christo, Eric Fischl, and Kiki Smith, who each donated unique drawings made from the same nude models during Will Cotton's annual Drawing Party. The party, hosted at Cotton's studio, brought together New York artists to sketch live models, with this year's theme featuring the sons and daughters of art-world figures like Glenn O'Brien, Jeanne Greenberg Rohatyn, Anne Pasternak, and Barbara Gladstone posing alongside the nudes.
The New York Academy of Art held its 25th annual 'Take Home a Nude' fundraiser at Sotheby’s New York on October 24, featuring a live auction and party. Attendees included actresses Brooke Shields and Naomi Watts, who bid on artworks, along with dealers, artists, and collectors. Sotheby’s auctioneer Courtney Christensen led the sale, and 'Baby' Jane Holzer was honored for her collecting and Warhol-era legacy. Watts purchased four works, including a portrait by Liz Markus for $14,000, while Shields helped raise bids online.
The Frick Collection in New York has opened its first-ever restaurant, Westmoreland, named after founder Henry Clay Frick's private train car. Located on the museum's newly renovated second floor, the 50-seat dining room features interiors by Bryan O'Sullivan Studio, a mural by artist Darren Waterston, and a menu of comforting, unadventurous fare like caesar salad, club sandwich, and avocado toast. The kitchen is led by Skyllar Hughes, a veteran of Danny Meyer's Ci Siamo, and operated by Union Square Events. Only museum ticket holders can dine, and reservations must be made in person.
Artist Jennie C. Jones has unveiled "Ensemble" (2025), a rooftop commission at New York's Metropolitan Museum of Art featuring three monumental, wind-activated stringed instruments—an Aeolian harp, zither, and one-string—that visitors are asked not to touch. The sculptures, coated in deep red powdered aluminum and concrete panels, are designed to be played by the breeze, though wind did not cooperate during the press preview. Jones drew inspiration from the Met's collection of 5,000 musical instruments, African American folk instrument makers like Moses Williams and Louis Dotson, and Minimalist abstraction, creating a work that explores anticipation and the sonic potential of untouchable objects.
The Kunstmuseum Den Haag in the Netherlands is presenting "Grand Dessert," an exhibition that explores the social significance of sweets through a mix of historical artifacts, contemporary painting, video, and sculpture. Guest curated by dessert expert Janny van der Heijden—host of the Great Dutch Bake Off—alongside curator Suzanne Lambooy, the show features works by Wayne Thiebaud, Piet Mondrian, and Natasja Sadi, among others, and includes sections on pudding, chocolate, cake, and ice cream. The exhibition has been extended by six months due to its popularity, drawing over 250,000 visitors.
The V&A East Storehouse, a new museum space in London's Queen Elizabeth Olympic Park, opens to the public on May 31, 2025, offering free admission seven days a week. Housed in the former London 2012 Olympics Media and Broadcast Centre, the 172,222-square-foot facility displays over 250,000 objects, 350,000 books, and 1,000 archives from the Victoria and Albert Museum's collection. Designed by Diller, Scofidio + Renfro, the Storehouse features a glass-floored Collections Hall where visitors can freely explore shelves and mini-curated displays, with objects changed frequently. Highlights include the Agra Colonnade (1630s) from Shah Jahan's bathhouse and a section of the Robin Hood Gardens housing estate by Alison and Peter Smithson.
Sotheby's London will auction a rare set of all four Shakespeare Folios—the First (1623), Second (1632), Third (1663), and Fourth (1685)—as a single lot on May 23, with a presale estimate of £3.5–4.5 million ($4.7–5.99 million). The set, assembled in 2016, is led by the First Folio, which preserved 18 of Shakespeare's plays that might otherwise have been lost. The sale marks the first time all four volumes have been offered together since a 1989 Sotheby's New York auction, which was canceled after a private offer was accepted.
Art critic Ben Davis shares a personal three-and-a-half-step method for getting the most out of visiting an art exhibition alone. The process begins with a quick walkthrough of the entire show to build a cognitive map of the space and note artworks that immediately stand out. The second step involves a systematic, slower tour to read wall texts, examine individual works, and uncover connections and hidden details, with special attention to time-based media like video art.
Lorde's new single "Man of the Year" from her upcoming album *Virgin* (released June 27) features a music video that visually references Walter De Maria's *New York Earth Room* (1977), a minimalist installation of 280,000 pounds of soil filling a SoHo loft. The video shows Lorde stripping, taping her breasts, and rolling in dirt, while the song's lyrics explore her fluid gender identity. Lorde also cites Italian artist Lucio Fontana and includes an X-ray cover image by photographer Heji Shin.
The trial between billionaire collector Ron Perelman and a group of insurers began Monday in New York Supreme Court, nearly seven years after a 2018 fire at his Hamptons estate, the Creeks. Perelman claims the fire damaged five paintings—two by Andy Warhol, two by Ed Ruscha, and one by Cy Twombly—insured for a collective $400 million, arguing the works lost their "oomph" due to smoke, humidity, and relocation during the fire. The insurers, including Lloyd's of London, Chubb, and AIG, contend the works sustained no detectable damage and that Perelman's claim is a "money grab" filed amid serious financial difficulties, including margin calls and the sale of 71 artworks for $963 million between 2020 and 2022.
In 2013, visitors to New York's Museum of Modern Art encountered actress Tilda Swinton sleeping in a raised glass box in the lobby, a performance piece titled *The Maybe*. Swinton first performed the work at London's Serpentine Gallery in 1995, developed with Joanna Scanlan, and has reprised it only twice: at Rome's Museo Baracco in 1996 and at MoMA in 2013. The MoMA iteration, curated by Klaus Biesenbach, featured Swinton alone in the glass case for eight hours a day over seven days, without the historical curiosities that accompanied the original Serpentine installation. Swinton has stated in a 2024 interview that she intends to perform *The Maybe* again "when least expected."
Lorde released a music video for her song "Man Of The Year," the second single from her upcoming album *Virgin*. The video features the singer in a room filled with dirt, which fans quickly noted resembles Walter De Maria's iconic installation *New York Earth Room*. Lorde has acknowledged the homage, describing the work as an inspiration for the song's sound and her personal rebirth. The video was not filmed in the actual installation, which is permanently housed in SoHo and managed by the Dia Art Foundation.