Hyperallergic has published a curated list of 15 gallery and independent art exhibitions to see in New York City during April. The guide highlights shows that might be overshadowed by major institutional blockbusters, featuring artists like E. Jane, Robert Bergman, Kamrooz Aram, and Chris "DAZE" Ellis across venues in Chinatown, Chelsea, Tribeca, and Queens.
The 2026 Whitney Biennial has opened, featuring 71 artists and collectives, with eight emerging as immediate standouts. Among them are Jacolby Satterwhite, celebrated for his immersive digital worlds; Lotus L. Kang, whose site-specific installation incorporates decaying materials; and Jes Fan, who explores biology and identity through sculptural forms. Other notable artists include Tiona Nekkia McClodden with her ritualistic film work, the collective Indigenous Futures, and figurative painter Cynthia Daignault. Their works collectively address themes of technology, the body, memory, and ecology.
Qatar is planning to build the Gulf region's largest full-service art storage and logistics facility near Hamad International Airport, in a partnership between QC+ (a strategic partner of Qatar Sports Investments and Art Basel) and Gulf Warehousing Company. The complex will offer secure storage, conservation services, and private viewing rooms, allowing artworks to be stored and traded without entering Qatar's customs territory, similar to freeports in Geneva, Luxembourg, and Singapore. Separately, British artist Anish Kapoor is considering legal action after US border patrol agents posed for a photo in front of his Cloud Gate sculpture in Chicago, which he condemned as emblematic of 'fascist America.' Kapoor previously sued the US National Rifle Association for using the sculpture in a 2017 video.
ARTnews has added 20 new collectors to its prestigious Top 200 Collectors list for 2025, reflecting the expanding global reach of serious art collecting. The new cohort includes figures from Latin America, the Gulf region, Southeast Asia, and the United States, such as Catherine Petitgas, Ariel Marcelo Aisiks, Sara Alireza, Faisal Tamer, Basma Al Sulaiman, Sheikh Hamad bin Abdullah Al Thani, Purat “Chang” Osathanugrah, Belinda Tanoto, Andreas Teoh, artist Rashid Johnson, Solomon R. Guggenheim Foundation president Wendy Fisher, Napster cofounder Sean Parker, Fanatics founder Michael Rubin, and Oscar L. Tang and Agnes Hus-Tang, who donated $125 million to the Metropolitan Museum of Art. Several new additions are second-generation collectors, and many have built private spaces to show their collections, such as Alexander Petalas’s Perimeter in London, Osathanugrah’s upcoming Dib Bangkok, and Basma Al Sulaiman’s virtual museum BASMOCA.
Canal Projects, a nonprofit art space in New York's Tribeca neighborhood, announced it will close its physical location on May 23, 2026, after just four years of operation. The organization will pivot to a grant-making model, allocating $3 million over three years to support arts projects, including Ayoung Kim's upcoming exhibition at MoMA PS1. The decision was driven by the high costs of maintaining an outdated building and a desire to redirect resources toward direct financial support for artists. The space, launched in 2022 by the YS Kim Foundation, hosted notable shows by artists such as Karimah Ashadu, Sin Wai Kin, Candice Lin, Geumhyung Jeong, and Seung-taek Lee. Artistic director and curator Summer Guthery departed at the end of March 2025. The final exhibition will feature Jakkai Siributr, opening January 30, 2026.
Adam Levine, director and CEO of the Toledo Museum of Art, has transformed the Ohio institution into a model for digital adaptation. Over five years, he grew the operating budget from $15 million to $23 million, expanded the endowment by $90 million, and launched TMA Labs, an in-house consultancy focused on data, Web3, AI, and emerging technologies. The museum has acquired digital artworks including NFTs and digital numismatics, established a digital artist-in-residence program, and opened the exhibition "Infinite Images," which traces the history of computer and digital art. Levine, one of the youngest museum directors in the U.S. at 38, discussed these initiatives in an interview with ARTnews.
Adam Levine, director and CEO of the Toledo Museum of Art, has transformed the Ohio institution into a model for digital-age adaptation. Over five years, he grew the operating budget from $15 million to $23 million, expanded the endowment by $90 million, and launched TMA Labs, an in-house consultancy focused on data, Web3, AI, and emerging technologies. The museum has acquired digital artworks including NFTs and digital numismatics, established a digital artist-in-residence program, and opened the exhibition “Infinite Images,” which traces the history of computer and digital art through November. Levine, one of the youngest museum directors in the US at 38, spoke with ARTnews about these initiatives and how he is future-proofing the museum.
Artnet News has published a preview of major European museum exhibitions opening in early 2026. Highlights include a monographic show on Paul Cézanne at Fondation Beyeler (January 25–May 25), featuring 80 works from his late career; “Yellow. Beyond Van Gogh’s Favourite Colour” at the Van Gogh Museum, Amsterdam (February 13–May 17), exploring the color yellow across art, fashion, and literature; a solo exhibition by conceptual artist Danh Vo at the Stedelijk Museum (February 14–August 2); and “The First Homosexuals” at Kunstmuseum Basel (March 7–August 2), examining the intersection of emerging homosexual identity and the arts in the late 19th century.
A new London exhibition, "Dirty Looks: Desire and Decay in Fashion," opens at the Barbican Art Gallery, exploring how designers have used dirt, distress, and imperfection as acts of defiance and new forms of beauty. Curated by Karen Van Godtsenhoven, the show features over 60 designers from Alexander McQueen and Maison Margiela to emerging upstarts, tracing moments like the rise of anti-fashion in the 1980s and trends like bogcore. It runs until January 2026 and is the Barbican's first fashion-focused show in eight years.
A new exhibition at London's Barbican Art Gallery, "Dirty Looks: Desire and Decay in Fashion," explores how designers have used dirt, distress, and imperfection as acts of defiance and new forms of beauty. Curated by Karen Van Godtsenhoven, the show features over 60 designers from Alexander McQueen and Maison Margiela to emerging upstarts, tracing anti-fashion movements from the 1980s to contemporary trends like bogcore. It includes a focus on Vivienne Westwood and Malcolm McLaren's 1982 boutique Nostalgia of Mud, which marked a shift from punk nihilism to romantic rebellion.
Shiva Zahed Gallery has opened in Istanbul’s Pera district, specifically dedicated to showcasing Iranian contemporary art. The gallery's inaugural exhibition, "Echoes," features works by the influential artist Fereydoun Ave and installation artist Shaqayeq Arabi. The opening was significantly delayed and reconfigured after civil unrest in Iran and a communication blackout prevented the founder from coordinating with the 20 emerging artists originally scheduled for the debut.
At Frieze London, emerging galleries in the Focus section face high financial pressure, with booth costs starting at £6,750. While some dealers reported strong sales—such as Ginny on Frederick selling out two works by Alex Margo Arden for up to £30,000 each, and Brunette Coleman also selling out—many smaller dealers declined to discuss sales, and at least three admitted to selling nothing by the first VIP day. The disparity highlights the growing difficulty for smaller galleries to compete at major art fairs.
At Frieze London, emerging galleries in the Focus section face high financial pressure, with booth costs reaching £6,750 ($9,000). While some dealers reported strong sales—such as London's Ginny on Frederick, which sold out both works by Alex Margo Arden, and Brunette Coleman, which also sold out—others were reluctant to disclose results. Several unnamed dealers admitted to selling nothing or only a single work, highlighting a stark divide between success and struggle among smaller exhibitors.
P.P.O.W. gallery has taken on representation of artist Owen Fu, while Nicola Vassell Gallery now represents Na Kim, known for her book covers and paintings. Jessie Washburne-Harris has been named Global Director at White Cube, overseeing the gallery's U.S. growth. Chris Sharp Gallery added Mark A. Rodriguez to its roster, and Berry Campbell took on the estate of Louisa Chase. Mexico City dealers Misa Yamaoka and Yuna Cabon launched an artist residency program at Third Born gallery. The article also reports that combined evening sales at Christie's, Phillips, and Sotheby's in Hong Kong totaled $136 million, a significant drop from $208.6 million last fall, and highlights the rising market interest in 17th-century artist Michaelina Wautier.
The article examines the growing role of artist estates in the art market, particularly for smaller and emerging galleries. While mega-galleries like Hauser & Wirth have long profited from managing blue-chip estates, a new wave of smaller galleries is now turning to overlooked and under-researched artists who died without established legacies. These galleries invest in building archives, cultivating institutional relationships, and reintroducing artists to contemporary audiences, often at more accessible price points with significant room for growth. Examples include Gunia Nowik Gallery working with the estate of Polish artist Krzysztof Jung and Gianni Manhattan representing Estonian sculptor Anu Põder.
Yoshiko Mori, the founding chairperson of Tokyo's Mori Art Museum, died on December 23 from pneumonia at age 85. Alongside her husband, real estate developer Minoru Mori, she opened the museum in 2003, which has since become one of Japan's premier contemporary art institutions. Mori served as chairperson from 2003 to 2024, then as chairperson emerita until her death. She also founded the Mori Contemporary Art Foundation in 2025 and held numerous international board positions, including trustee at the Royal Academy of Arts and member of the International Council at MoMA and Tate.
Authorities arrested Jonathan Rinderknecht for allegedly starting the Pacific Palisades fire in January, which killed 12 people and destroyed over 6,000 homes. Investigators found evidence on his phone, including a ChatGPT query where he asked for a "dystopian painting" depicting rich people watching the poor struggle in a fire, as well as searches about culpability for starting fires with cigarettes. The fire also damaged the Getty Villa grounds, forcing a four-month closure, and destroyed the home and 340 artworks of collector Ron Rivlin, including pieces by Warhol, Haring, and Baldessari.
At Art Basel Miami Beach 2025, the art market showed a strong turn toward historical references, with galleries like Gagosian featuring Jeff Koons' antique-inspired sculptures and Takashi Murakami's reproductions of Cézanne and Van Gogh. The new Zero 10 sector, named after a 1915 Malevich exhibition, highlighted digital artists such as Beeple and Larva Labs. This trend reflects a broader "flight to quality" in an uncertain market, where collectors seek reassurance by associating emerging or overlooked artists with established historical names.
Todd von Ammon, a young gallerist, critiques the contemporary art market's over-reliance on art fairs and the homogenization of gallery spaces into a sterile, grid-like system. He contrasts this with the lost charm of discovering hidden, architecturally unique galleries in labyrinthine neighborhoods, which he argues fosters a sense of urban belonging and agency for collectors and art workers. The article traces the shift from the rabbit warrens of SoHo to the dense Chelsea gallery district and the rise of the modern art fair, epitomized by Art Basel's expansion to Miami Beach in 2002, which he likens to a pyramid scheme that burdens young galleries with high costs for minimal returns.
Former Sotheby's rainmaker Brooke Lampley, now a director at Gagosian, discusses the art market's loss of control over pricing, citing a failed $70 million Alberto Giacometti bust at auction as a symptom of deeper market confidence issues. The article traces the evolution of art pricing from opaque, dealer-driven norms to a data-rich system enabled by Artnet's Price Database in 1989, which fueled a price spiral and attracted speculators. Now, in 2025, the market faces a correction with auction sales down 27.3 percent to $10.2 billion, and buyers are pausing as traditional pricing signals become scrambled.
The traditional quest to identify a single dominant Asian art hub is being challenged by the organic growth of decentralized scenes in cities like Bangkok and Hanoi. While Hong Kong and Seoul remain established centers, private initiatives and artist-led projects in Thailand and Vietnam are building resilient, hybrid ecosystems that prioritize long-term structural depth over immediate auction results. From the opening of Dib Bangkok to experimental exhibitions in Hanoi, these cities are transitioning from peripheral status to significant cultural players through a mix of private museums, biennials, and non-profit platforms.
À Paris, des galeristes très mobiles
The Parisian art scene is experiencing a significant wave of gallery expansions and relocations across both the Right and Left Banks. Major developments include Kamel Mennour acquiring the former Malingue gallery space on Avenue Matignon for secondary market masterpieces, and Christophe Person moving from the Marais to a redesigned space on Rue du Bac with the backing of collector Jean Claude Gandur. Other notable moves include London-based Waddington Custot opening a Parisian branch, Singapore's Cuturi Gallery settling in the Palais-Royal, and Vincent Sator inaugurating a new space in the David Chipperfield-designed Morland Mixité Capitale complex.
Art Paris 2026 : 10 stands pour faire de belles découvertes
The 28th edition of Art Paris has opened at the Grand Palais, marked by a vibrant and optimistic atmosphere. The fair features a diverse array of works ranging from Fabrice Hyber’s monumental inflatable bears at the entrance to a curated selection of contemporary ceramics, textiles, and innovative paintings. A central highlight is the "Reparation" thematic itinerary curated by Alexia Fabre, which connects various artists through the concept of healing and transformation.
Au Grand Palais, la foire Art Paris s’intéresse à la question du langage, avec un Prix BNP Paribas Banque Privée à la clé
The 28th edition of the Art Paris fair is set to return to the Grand Palais in 2026, featuring a mix of 60% French and 40% international galleries. This year’s edition emphasizes emerging talent through its 'Promesses' sector and introduces a strong curatorial focus with two thematic paths: 'Reparation,' curated by Alexia Fabre, and 'Babel,' curated by Loïc Le Gall. The latter explores the intersection of language, signs, and translation through the work of 20 artists from the French scene.
Au Grand Palais, la foire Art Paris 2026 riche de belles promesses
The Art Paris 2026 fair is set to return to the Grand Palais, solidifying its reputation as a vibrant, French-focused alternative to the more elite Art Basel Paris. Under the long-term leadership of artistic director Guillaume Piens, the edition will feature 165 exhibitors, with a deliberate 60% representation of French galleries. The fair's structure includes the "Promesses" sector for emerging galleries curated by Marc Donnadieu, alongside two major thematic paths: "Babel – Art and Language in France" curated by Loïc Le Gall, and "Reparation" curated by Alexia Fabre.
Spielzeug Gallery, a nomadic curatorial project founded by Evan Karas, opened a temporary brick-and-mortar space at 131 Chrystie Street in New York through a collaboration with 1 Day at a Time, an enterprise that helps nomadic creatives secure footholds in the city. The inaugural exhibition, “TOYS! TOYS! TOYS!”, featured works by Thomas Liu Le Lann, Josh Rabineau, and Michelle Im, exploring themes of control, psychosexuality, and the interplay of objects and space. The gallery’s model, described as an “itinerant fantasy,” has previously staged shows in venues including a Czech bunker, a party bus, and a Bushwick apartment.
Claudia Alarcón, an Indigenous Wichí artist from Argentina, made her U.S. debut at James Cohan Gallery in New York with an exhibition co-organized with Cecilia Brunson Projects. The show features weavings created collaboratively with Silät, an all-women weaving collective formed by curator Andrei Fernández, using traditional Wichí techniques and the yica stitch. The works draw on Wichí cosmology, including a centuries-old tale of women descending from stars, and challenge the distinction between craft and fine art. Alarcón is recognized as the first Indigenous woman to exhibit her work as art at Argentina's foremost art fair.
Abu Dhabi Art Fair returns for its 17th edition from November 19–23 on Saadiyat Island, featuring 140 galleries from 35 countries—up from 104 last year and 40 in 2009. Under director Dyala Nusseibeh, the fair introduces new thematic sectors including 'The Collectors Salon' for historical objects, an expanded 'Emerge' section for works under $3,000, and a Global Focus highlighting modern masters from Nigeria and Türkiye. The growth reflects Abu Dhabi's broader cultural strategy of ambitious development, with museums long in the works finally opening and attracting global attention.
Artnet News's Talentspotter feature profiles six emerging Asian artists shaping contemporary art. The artists, including Chen Ronghui, Steph Huang, and Cole Lu, explore themes of urbanization, migration, identity, and consumer culture through photography, sculpture, and installation.
Ten years after London dealer Vanessa Carlos launched the gallery sharing initiative Condo in the East End, the collaborative model has become a key survival strategy for galleries of all sizes, especially smaller ones. The latest edition of Condo London runs from Saturday to February 14. Brunette Coleman, a photography-forward gallery launched in 2023 by Anna Eaves and Ted Targett in Bloomsbury, exemplifies this trend: it has grown quickly through cooperative exhibitions rather than costly fairs, participating in Condo for the second time this year by hosting Milan’s Zero gallery. The gallery represents six international artists, and its artist Nat Faulkner won Frieze London’s Emerging Artist Award in 2024, with a solo show opening at Camden Art Centre.