Holbein biography interrogates the artist's life and work from a different angle

Elizabeth Goldring’s new biography of Hans Holbein the Younger takes a documentary-focused approach, prioritizing archival evidence over visual analysis. The book examines Holbein’s life (1497/8–1543) through chronological chapters, using inventories, correspondence, and other records to correct long-held assumptions and propose new theories about his work. Goldring’s detective work includes identifying the green curtain in Holbein’s portrait of Sir Thomas More as a reference to the sitter’s role as chancellor of the Duchy of Lancaster, and suggesting that a lost painting of the More family was given to Erasmus as a gift.

Scotland’s oldest art exhibition marks 200 years with landmark show

The Royal Scottish Academy (RSA) in Edinburgh is celebrating its bicentenary with its largest annual exhibition to date, running from May 9 to June 14, 2026. Curated by artist Annie Cattrell under the theme "In-Time," the landmark 200th edition features hundreds of works by artists and architects, including invited contributions from Martin Creed and Cathie Pilkington. The event also introduces several new major prizes, such as the Jack Vettriano Award, bringing the total prize fund to over £25,000.

A Calibrated Market: How 2025 Shaped the Landscape for Collectors in 2026

The article analyzes the art market in 2025, describing a year of divergence rather than a single trend. While aggregate sales remained below post-pandemic peaks, the year ended with a billion-dollar New York auction week, a record-setting Klimt portrait, and strong demand for exceptional works. Segments like Old Master auctions and the $1 million–$10 million band saw growth, while the ultra-contemporary segment struggled. Key events included the May marquee auctions in New York, the second edition of Art Basel Paris, and November sales at Christie’s and Sotheby’s, which demonstrated a split-level market with record highs at the top and discipline elsewhere.

Is Banksy getting personal? New lighthouse mural prompts speculation over its philosophical meaning

Banksy has unveiled a new mural on Instagram after a six-month hiatus, depicting a black lighthouse with the stenciled phrase “I want to be what you saw in me.” The work, located in Marseille’s Rue Félix Fregier, marks the first time the artist has referred to himself in the first person in a public mural. Speculation about its meaning ranges from a tribute to a deceased artist known as Lonely Farmer to a moment of rare self-reflection, though Banksy’s studio Pest Control declined to comment.

Commentary: This year's Met Gala proved one thing: The real devil who wears Prada is Jeff Bezos

Jeff Bezos and his wife Lauren Sánchez Bezos served as honorary co-chairs and sponsors of this year's Met Gala, sparking widespread protests and calls for boycotts. Guerrilla activist group Everyone Hates Elon plastered New York with anti-Bezos signage, and activists placed 300 bottles filled with fake urine inside the Metropolitan Museum of Art to highlight Amazon workers' bathroom break complaints. New York Mayor Zohran Mamdani declined his invitation, and the absence of celebrities like Meryl Streep and Zendaya fueled speculation about a boycott, though representatives denied any coordinated protest. Despite the controversy, the gala proceeded with many attendees and is expected to raise more than last year's $31 million for the Costume Institute.

Zurich: Peripheral Presence. by Tibor Bielicky and Ellena Ehrl

Zurich’s urban landscape is defined by functionalist structures from the 1990s and early 2000s that serve as the 'understated backdrop' to daily life. These buildings, including the Signal Box by Gigon Guyer and the Telecap 2000 by Hans Ulrich Imesch, act as navigational markers at the city’s geographic choke points. Despite their significance in shaping the city's rhythm and internal choreography, many of these structures are now reaching the end of their first lifecycle and face the threat of demolition due to real estate speculation.

The Forgotten of Art: The Story of Architect and Sculptor Pietro De Laurentiis

I dimenticati dell’arte. La storia dell’architetto e scultore Pietro De Laurentiis

The life and legacy of Pietro De Laurentiis, a multifaceted Italian architect, sculptor, and cultural activist, are being rediscovered through a retrospective look at his prolific career. Born into a peasant family in Abruzzo, De Laurentiis rose to prominence in Rome's mid-century art scene, balancing a forty-year teaching career at the Faculty of Architecture with significant public commissions, including bronze panels for the ACEA headquarters and marble works for INPS. His artistic style evolved from rural-inspired figuration to a unique geometric abstraction that blended Cubism with folk traditions.

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Nifty Gateway, one of the earliest and most prominent NFT marketplaces, announced it will shut down on February 23, 2026, citing sharply declining activity. The platform, founded in 2018 by twins Duncan and Griffin Cock Foster and acquired by Gemini in 2019, has entered withdrawal-only mode, advising users to move their assets before the deadline. At its peak in 2021, Nifty Gateway reported $300 million in gross merchandise value, boosted by a Sotheby's partnership for a $17 million NFT drop by the artist Pak. The closure follows the collapse of the NFT boom, with trading volumes plummeting and other platforms like Async Art, KnownOrigin, and MakersPlace already shuttered.

Art Collectors Bet on Known Quantities Amid Market Reset

The Impressionist and Modern art category became the most lucrative market segment in 2025, generating $4.7 billion in sales—a 29.5% increase from 2024—as collectors favored established names amid a cautious market. The $10-million-plus bracket surged 68.6% to $1.5 billion, while the number of lots sold hit a decade high of 122,213. Postwar and contemporary art ranked second with $4.1 billion, but its average price per lot dropped to a decade low of $23,027. Old Masters saw a 41.2% rise to $708.6 million, partly driven by the Thomas A. Saunders III collection at Sotheby’s, though that sale fell short of estimates. Ultra-contemporary art continued its four-year decline, falling 26.5% to $229.9 million, with average prices tumbling 72.4% from their 2021 peak.

Was This Anne Boleyn’s Seat? Rare 500-Year-Old Chair Linked to Tudor Queen

A rare, intricately carved wooden chair, potentially used by Anne Boleyn during her time in the French courts between 1510 and 1520, has been acquired and is now on display at Hever Castle. The chair was purchased by antiques dealer Paul Fitzsimmons from an online American auction in 2022, and its carvings—featuring dolphins, a Tudor rose, and the initials "AB" intertwined with a cordelière emblem of Queen Claude—suggest a strong link to the Tudor queen's early life.

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Artnet News editor Kate Brown interviews Marc Spiegler, former global director of Art Basel (2007–2022), to analyze the state of the art market entering 2026. The article reviews a turbulent 2025: galleries closed, buying energy dried up, some fairs shrank, and the secondary market faltered, though the hype-driven speculation of previous years receded. By late 2025, signs of recovery emerged—successful fall auction weeks in New York and a stronger-than-expected Art Basel Miami Beach—and both Christie’s and Sotheby’s reported upticks in projected revenue for the year.

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Artnet News revisits a podcast episode featuring editor-in-chief Naomi Rea, who examines the breakdown of traditional art pricing logic amid a cooling market. The episode explores how the rules that once governed art valuation have eroded, leaving dealers, advisors, and collectors struggling to navigate a market described as being in a "danger zone." Rea discusses how mega-galleries, emerging dealers, and advisors are quietly recalibrating their strategies as speculation dries up and confidence wanes.

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During Berlin Art Week, a group of artists from the Alliance of Endangered Studio Spaces (AbBA) staged a protest at Alexanderplatz on September 16, calling on the Berlin Senate to repurpose abandoned properties for artistic and cultural use. The demonstration highlighted that five studio cooperatives housing about 150 artists were shut down by private owners in 2014 and 2015, with many more studios threatened by foreclosure due to rising rents and gentrification.

“River Valley Radical Futures” open at the Taber Art Gallery

A new exhibition titled “River Valley Radical Futures” has opened at the Taber Art Gallery at Holyoke Community College in Holyoke, Massachusetts. The show invites visitors to imagine the Pioneer Valley 100 years in the future after the fall of capitalism, using workshops, worker cooperatives, and community groups to create a conceptual map of that possible future. Eight local artists display multi-medium works in the gallery until March 12th.

Across the Major Houses, Hong Kong’s March Sales Confirm a New Collecting Maturity

Hong Kong's major auction houses—Christie's, Sotheby's, and Phillips—concluded their March sales series with strong results, demonstrating resilience in the Asian art market. The sales were characterized by a high sell-through rate, robust bidding, and a notable shift towards collecting driven by deep knowledge and passion rather than pure speculation.

20 business types + a $1m super investment = an unusual art collective

An Australian-based art investment collective, comprising 20 members including top-tier business and legal professionals, has consigned eight artworks to Leonard Joel's Centum auction of contemporary art. Among the lots is Indonesian artist Yudi Sulistyo's *Rumah (Home)*, 2013, described as a 'ramshackle rocketship with a payload of decrepit dwellings.' The collective operates with a $1 million super investment model, blending high-net-worth individuals with art market speculation.

Art Busan Bets on Sustainability Over Speculation

Art Busan's 15th edition, taking place May 21–24, 2026 at BEXCO Exhibition Center, will feature over 110 galleries from 18 countries, with expanded programming including craft and design sections, curated exhibitions, and a new section called LIGHTHAUS that reframes gallery booths as curated environments. Data from the 2025 edition indicates an art market reorganization rather than contraction, with increased pre-sale activity, repeat attendance, and purchases across a wide price spectrum, suggesting a shift away from speculation toward sustained engagement.