On June 2, 2025, Asia Society Seattle will host a private tour of the Ai Weiwei exhibit at the Seattle Art Museum (SAM), led by Dr. Foong Ping, the Foster Foundation Curator of Chinese Art and an affiliate professor at the University of Washington. The event is exclusive to the society's Advisory Council, Groundbreaker and Innovator members, and donors, requiring advance registration.
The article highlights several major museum exhibitions opening during Tefaf New York 2025. At the Brooklyn Museum, "Solid Gold" (through July 6) traces the material's historical and cultural significance across fine art, fashion, jewelry, and design, featuring works from ancient Coclé gold plaques to pieces by Agnes Martin, Louise Nevelson, and Alexander Calder. The Metropolitan Museum of Art presents "Sargent and Paris" (through August 3) for the centenary of John Singer Sargent's death, reuniting his scandalous "Portrait of Madame X" with preparatory sketches and exploring his formative decade in Paris. The Jewish Museum offers "The Book of Esther in the Age of Rembrandt" (through August 10), examining the biblical story's influence on 17th-century Dutch art through works by Rembrandt and his contemporaries.
The Bowdoin College Museum of Art (BCMA) celebrates its 2024–25 academic year intern cohort, highlighting the contributions of six student interns: Audrey Fillion, Pilar Saavedra-Weis, Karime Borrego, Neiman Mocombe, Julia Smart, and Chris Zhang. Interns worked on projects ranging from co-curating the exhibition "John McKee: As Maine Goes" to developing campus engagement surveys, leading gallery tours, and organizing community events. Emily Jacobs, Curatorial Assistant and Manager of Student Programs, authored the piece, noting the interns' diverse academic backgrounds—from art history and English to biochemistry—and their collaborative work with museum staff.
Art historian and author James Hall, writing in The Art Newspaper, reviews Nicola Moorby's new book "Turner and Constable: Art, Life, Landscape" and uses it as a springboard to argue that art historians should not shy away from making value judgments about artists. He compares the legacies of J.M.W. Turner and John Constable, noting that Turner currently dominates popular and institutional esteem—appearing on banknotes, celebrated by Tate Britain as the greatest British artist, and fitting modern conceptions of the artist as a rebellious, eccentric genius. Hall contrasts this with Constable's more conservative image and declining presence in commercial culture.
The Parrish Art Museum in Water Mill, New York, presents "Born of Fire," a major exhibition of Iranian-born artist Shirin Neshat running from April 20 to September 1, 2025. The show features three photographic series—"Women of Allah" (1993–97), "The Book of Kings" (2012), and "Land of Dreams" (2019)—alongside two double-channel videos and a full-length film. Neshat's work explores themes of alienation, repression, and identity, drawing on her experience of living between Iranian and American cultures after the 1979 Islamic Revolution prevented her from returning home.
The High Museum of Art in Atlanta is hosting "Kim Chong Hak: Painter of Seoraksan," the first American museum exhibition dedicated to the Korean artist, running through November 2. The show features over 60 works spanning Kim's career, from early abstract pieces influenced by Western artists like Rothko and Tàpies to vibrant, large-scale landscapes inspired by his decades-long retreat to Mount Seorak in eastern South Korea. The exhibition includes paintings, folk art, and a catalog with essays that contextualize Kim's life and work.
John Barelli, head of security at the Metropolitan Museum of Art from 2001 to 2016, revealed that Banksy illicitly installed a painting at the museum in 2005 with the help of three accomplices who distracted guards. The work, titled 'Last Breath' and depicting a woman in a gas mask, was affixed to a wall with a placard claiming it was a donation. Banksy later requested its return, but Barelli told The New Yorker that the museum had thrown it out—though he admitted to taking it himself upon retirement, saying he might sell it if he needs money.
Johns Hopkins University has acquired 10 new contemporary artworks by local Baltimore artists as part of an initiative launched in 2023 to collect and display art by regional talents. The second round of acquisitions includes works by Brandon Donahue-Shipp, Bria Sterling-Wilson, and Jerrell Gibbs, among others. The pieces will be displayed at the Irene and Richard Frary Gallery in Washington, D.C., as part of the exhibition "Strong, Bright, Useful, and True: Recent Acquisitions and Contemporary Art from Baltimore" before being installed across Johns Hopkins campuses.
A new exhibition titled "Criminal: The Untold History of Homelessness" opens at the Museum of Homelessness in London, exploring the origins of homelessness in the UK and how it has been criminalized. The exhibition challenges the typical focus on the 19th-century Vagrancy Act, instead tracing the "Homelessness Big Bang" to the early 1600s, when land enclosures, economic shifts, and colonial expansion began penalizing unhoused people. Staged in a meadow at Finsbury Park, the show features artists and activists including the anonymous graffiti artist 10 Foot, designer Matt Bonner, and poet Gemma Lees, with works such as 10 Foot's first sculpture "Fairie Newbuild"—a skip-shaped object made from palisade fencing containing a hawthorn tree.
The Venice Biennale's 2024 edition is embroiled in political controversy surrounding its national pavilions, particularly those of Russia, South Africa, and Israel. The Russian pavilion's readmission amid the war in Ukraine drew sharp criticism from the artistic community and led the European Union to withdraw approximately two million euros in funding. The Israeli pavilion, which remained empty in 2024 to protest hostage situations, now features a proposal by sculptor Belu-Simion Fainaru, prompting protests from the Art Not Genocide Alliance and over 200 artists demanding its exclusion. The curatorial team, appointed by the late curator Koyo Kouoh, resigned collectively nine days before the opening, and the Biennale's directorship canceled the opening ceremony, postponing awards to November. Demonstrations led by Art Not Genocide Alliance, Pussy Riot, and FEMEN surrounded the Russian pavilion during the press opening, and a strike by cultural workers is planned for May 8th.
The 2026 Met Gala took place on the first Monday of May, opening the Costume Institute's spring exhibition 'Costume Art' at the Metropolitan Museum of Art. The dress code 'Fashion is Art' prompted celebrities to treat the body as a canvas, with attendees like Hunter Schafer, Madonna, Rachel Zegler, Angela Bassett, Kendall Jenner, Troye Sivan, and Emma Chamberlain referencing specific artworks—from Gustav Klimt's *Mada Primavesi* to the *Winged Victory of Samothrace*—and historical fashion pieces.
Un tableau de Gerard van Honthorst à Utrecht
The Centraal Museum in Utrecht has acquired a painting by Gerard van Honthorst, titled *Extase de Marie-Madeleine* (c. 1618-1620), purchased from Cantore Galleria. The work was previewed at TEFAF Maastricht, where the museum also announced a major retrospective dedicated to the artist, titled "Gerard van Honthorst - En tout point différent de Rembrandt," which opened on April 25.
Sculptor and author Barbara Chase-Riboud has publicly declined an invitation to represent the United States at the 2026 Venice Biennale, stating it was "not the moment" for her to do so. She was among the artists initially considered by the newly formed American Arts Conservancy (AAC), which is organizing the US pavilion after both she and photographer William Eggleston turned down the opportunity.
Berlin-based artist Sofia Defino Leiby is currently transitioning her practice between her Alt-Treptow studio and a residency at Defet House in Nürnberg. Her multidisciplinary approach integrates painting, collage, and performance, drawing heavily from a 'running narrative' of personal notes, found ephemera, and high-end materials like Schmincke paints. The work often features visceral, layered compositions that utilize everything from vintage packaging to Swiss Aura-Soma bottle imagery.
Paris is undergoing a wave of architectural preservation and renovation that prioritizes the "à l’identique" (identical) approach, most notably seen in the reconstruction of Notre-Dame Cathedral following its 2019 fire. This trend extends to other major cultural landmarks, including the renovation of the Bourse de Commerce by Tadao Ando and the upcoming multi-year closure of the Centre Pompidou for technical upgrades. The author uses the critical lens of 19th-century writer Joris-Karl Huysmans to question whether this obsession with restoring buildings to a previous state stifles contemporary architectural evolution.
Alexander Calder's monumental fountain sculpture "Three Quintains (Hello Girls)" has been reinstalled at the Los Angeles County Museum of Art's new David Geffen Galleries, more than 60 years after it was first commissioned for the museum's original 1965 campus. The colorful, whimsical piece features four water jets that propel mobile-like paddles, and its water jets were turned back on in March 2025. The sculpture now anchors the northeast corner of the new building, placed alongside the main cafe and near the W.M. Keck Education Center, with a technically advanced filtration system to address previous environmental challenges.
Ressentir la nature d’après Nicolas Poussin
An exhibition titled "Le sentiment de la nature. L’art contemporain au miroir de Poussin" has opened at the NMNM – Villa Paloma in Monaco. Curated by Guillaume de Sardes, it places Nicolas Poussin's 1651 painting *L'Orage* in dialogue with works by over twenty contemporary artists, including Sarah Moon, Christo and Jeanne-Claude, Thomas Demand, Pierre Thoretton, Ange Leccia, Marine Wallon, and Claudio Parmiggiani.
Ndéyé Kouagou has opened her first solo exhibition in Italy at Collezione Maramotti, presented in conjunction with the Fotografia Europea 2026 festival. The exhibition, titled 'Ghosts of the Moment', features recent works and new commissions that showcase her language-driven practice, blending text, performance, and image to explore unstable meaning and contemporary subjectivity.
Il super architetto Kengo Kuma in mostra al Museo del Bonsai, luogo magico alle porte di Milano
The Crespi Bonsai Museum in Parabiago, near Milan, is hosting an exhibition during Fuorisalone featuring the new carpet collection "Faces" by Indian brand Jaipur Rugs, created in collaboration with renowned Japanese architect Kengo Kuma. The museum, founded 35 years ago by Luigi Crespi, houses the world's most important collection of author bonsai outside Japan, including a thousand-year-old Ficus retusa. The 16 carpets in the collection reinterpret the facades of iconic buildings by Kengo Kuma & Associates, translating their rhythm, depth, and sensory memory into wool and regenerated viscose, displayed among the bonsai and in the museum's zen garden.
The article examines the aesthetic dimensions of the MAGA movement, comparing and contrasting it with historical fascist regimes, particularly Nazi Germany. It argues that while both movements share a theatrical, media-savvy approach to politics and a resentment of cultural elites, MAGA lacks the disciplined, sophisticated aesthetic program and the cadre of high-profile artists and designers that characterized Nazi cultural production.
The author, an Iranian artist living in the diaspora, describes the profound psychological impact of the ongoing war on her homeland. She experiences a constant state of displacement and terror, feeling tethered to Tehran through news of bombings in the Alborz Mountains, which transforms her sense of geography and home into one of anxiety and helplessness.
New York- and Ramallah-based Palestinian artists Basel Abbas and Ruanne Abou-Rahme present *Prisoners of Love: Until the Sun of Freedom* (2025), an hour-long four-channel film installation at The Bell/Brown Arts Institute in Providence. The work layers psychedelic imagery of figures in nature with spoken and written testimonies from Palestinians formerly detained by Israeli authorities, exploring themes of incarceration, surveillance, and resistance through fragmented montage and poetic text. The exhibition also includes drawings by Abou-Rahme’s father and printed screenshots of reflections on the genocide in Gaza.
The Driehaus Museum in Chicago has opened 'Ink & Outrage: 18th-Century Satirical Prints in London & Dublin,' an exhibition of some 100 prints by Georgian-era caricaturists including James Gillray and Thomas Rowlandson. Curated by Silvia Beltrametti and William Laffan, the show explores the rise of visual satire in 18th-century England and features side-by-side comparisons of original English prints with unauthorized Irish copies, highlighting issues of plagiarism and intellectual property.
The State Hermitage Museum in St. Petersburg is hosting "Sediments of Becoming: Fossilised Present, Summoned Pasts," an exhibition curated by Marina Schulz and Tunty Chauhan that features works by eleven contemporary Indian artists, including Afrah Shafiq, Anindita Bhattacharya, Debashish Mukherjee, and others. The show positions contemporary Indian artistic practice within a broader international and civilisational discourse, set against the Hermitage's historic backdrop of over three million objects spanning centuries.
Es Devlin has launched *A National Portrait*, a participatory digital artwork at the National Portrait Gallery in London, created in collaboration with Google Arts & Culture Lab. Opening on 14 May 2026 and running until 27 October 2026, the project invites anyone in the UK to upload a photograph of themselves via an online platform, where it is transformed into an animated digital portrait inspired by Devlin's charcoal and chalk drawing practice. These portraits are displayed collectively in the gallery's History Makers space, and participants receive a downloadable digital edition of their own portrait. The project is the result of three years of collaborative research between Devlin and Google Arts & Culture Lab.
The article reviews "The Adventure of Domenico Gnoli," a retrospective at Lévy Gorvy Dayan in New York, focusing on the Italian artist's 1967 painting *L'inverno (Couple au lit)* and other works featuring intimate, fabric-rich domestic scenes. Gnoli (1933–1970), born into an art-world family, is often associated with Pop Art, but the author argues his work depicts a private, almost childlike world of memory and longing, contrasting with Pop's mass-produced commodities.
TEFAF Maastricht is reinforcing its position as a premier destination for high-end collectors by increasingly integrating 20th-century secondary market material alongside its traditional Old Masters and antiquities. Despite a period of leadership instability—marked by the recent departure of managing director Dominique Savelkoul after less than a year—the fair remains a critical fixture for 276 exhibitors. This year's edition highlights a diverse range of objects spanning 7,000 years, from Neolithic pottery to contemporary photography and high jewelry worn by celebrities like Helen Mirren.
The international mega-gallery Thaddaeus Ropac announced it is opening a project space in uptown Manhattan, marking its first permanent physical presence in New York. The gallery also appointed Emilio Steinberger, a former senior partner at Lévy Gorvy Dayan, as its new senior director in the US to lead the expansion.
Chinese artist and activist Ai Weiwei will open his first solo exhibition in India this week at Nature Morte gallery in New Delhi, running from 15 January to 22 February. The untitled show spans four decades of his career, featuring large-scale Lego works based on famous artworks (including versions of Hokusai's 'Surfing' and Monet's 'Water Lilies'), new Lego pieces inspired by Indian Pichwai paintings and homages to modernist painters V.S. Gaitonde and S.H. Raza, plus installations such as 'Whitewashed Remnants of History of the State of Emerging Future Works' and 'F.U.C.K.' (2024). All works are for sale, with several pre-sold; the exhibition is a collaboration between Nature Morte and Galleria Continua.
Tania Willard, a member of the Secwépemc First Nation, has won the 2025 Sobey Art Award, Canada’s top contemporary art prize, at a ceremony at the National Gallery of Canada in Ottawa. The award, announced by last year’s winner Nico Williams, comes with C$100,000 ($71,200). Willard’s multidisciplinary practice spans basketry, sculpture, public art, and land-based projects, and she is also a prominent curator. The five other finalists each received C$25,000. Works by all finalists are on view at the NGC until February 2026.