Museion in Bolzano has launched a major retrospective titled "Feedback. The Environments of Franco Vaccari," focusing on the influential Italian conceptual artist. The exhibition marks the first comprehensive institutional survey to prioritize Vaccari’s "environments"—immersive spaces that utilize photography, video, and archival materials to engage the viewer in a process of real-time feedback.
The Los Angeles Times has published a guide to the new public park surrounding LACMA's David Geffen Galleries, designed by architect Peter Zumthor. The 3.5-acre campus features outdoor dining, a sculpture garden, and a 300-seat theater, with free public art including Jeff Koons' topiary "Split-Rocker," Chris Burden's "Urban Light," and works by Alexander Calder, Pedro Reyes, and Shio Kusaka. The article provides a detailed map of installations, amenities, and nearby attractions like the La Brea Tar Pits.
The Social Practice CUNY (SPCUNY) initiative, a major program fostering the intersection of art and social justice across the City University of New York’s 25 campuses, will officially sunset in February 2027. Co-directed by artists Chloë Bass and Greg Sholette, the program will conclude following its final 2025–26 fellowship cohort. The decision to end the project stems from the directors' personal transitions, including Sholette’s upcoming retirement and Bass’s shift away from full-time teaching to focus on her studio practice.
A prominent mural of Cesar Chavez in San Francisco's Mission District was painted over by the building owner and the original artist in response to sexual abuse allegations against the late labor leader. The artwork, which had adorned the Latin Rock Music House, was removed as a direct statement against the confirmed allegations.
Italy's Culture Minister Alessandro Giuli has demanded the resignation of Tamara Gregoretti, the government's representative on the Venice Biennale board, accusing her of failing to alert the ministry to Russia's planned return to the 2026 exhibition. Russia announced it will reopen its national pavilion for the first time since 2019 with a presentation titled 'The Tree Is Rooted in the Sky,' curated by Anastasia Karneeva and featuring over 30 artists.
Officials from the National Museum of Sudan have revealed that over 60% of the institution's holdings were looted during the country's ongoing civil war. The Rapid Support Forces (RSF) occupied the Khartoum-based museum for nearly a year, during which time ancient gold, jewelry, and approximately 8,000 pieces from exhibition halls were stolen. Satellite imagery confirmed trucks transporting artifacts away from the site, and several other regional museums, including the Sultan Ali Dinar Museum, have been reported as completely destroyed.
French President Emmanuel Macron has appointed Catherine Pégard as the nation’s new Culture Minister, succeeding Rachida Dati. Pégard, a former political journalist and longtime president of the Château de Versailles, moves into the role after serving as Macron’s cultural advisor since 2024. Dati is stepping down from the post to focus on her candidacy for the Paris mayoral election in March.
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Rachida Dati has announced her resignation as France’s Minister of Culture to launch a bid for the Mayor of Paris in the upcoming March elections. Appointed in 2024 under President Emmanuel Macron, Dati’s tenure was marked by controversy and criticism from outlets like Le Monde, which characterized her term as a series of publicity stunts that failed to address critical reforms in public broadcasting and institutional issues at the Louvre.
The Louvre has indefinitely postponed the competition to select an architect for its expansion project, Louvre—Nouvelle Renaissance, just days before the jury was set to vote on a winning proposal. Announced by French President Emmanuel Macron in January 2025, the $778 million plan aimed to ease overcrowding at the museum, which hosts 9 million visitors annually, by creating a new entrance, upgrading infrastructure, and controversially building a dedicated 33,000-square-foot gallery for the Mona Lisa. Five firms—Amanda Levete Architects, architecturestudio, Dubuisson Architecture, Sou Fujimoto, and STUDIOS Architecture—had been shortlisted. The postponement follows staff walkouts, a leaked memo detailing structural issues, and a high-profile theft.
The Imperial War Museum (IWM) in London has permanently closed its long-running Victoria Cross gallery, which housed over 200 medals loaned by Lord Ashcroft since 2010. The closure, which occurred in June 2025, coincided with the launch of a new virtual tour titled "Refracted Histories: Exploring LGBTQ+ Stories in Times of Conflict." Lord Ashcroft, a Conservative peer and donor who contributed £5 million to establish the original gallery, criticized the museum for sidelining military gallantry in favor of contemporary themes, claiming he was not informed in advance of the decision.
Egyptian archaeologist Zahi Hawass has renewed his demand for the return of the ancient bust of Nefertiti from Berlin's State Museums, citing the recent full opening of the Grand Egyptian Museum (GEM) near Giza as proof that Egypt can properly safeguard its artifacts. The bust, dating to ca. 1351–1334 BCE and discovered in 1912 by German Egyptologist Ludwig Borchardt, has been on display at the Neues Museum since 2009. Hawass, who has shifted his position over time—calling the bust not looted in 2010 but “brazenly stolen” in 2024—argues that Western museums can no longer claim Egyptian institutions lack adequate climate control and display standards.
Pérez Art Museum Miami (PAMM) director Franklin Sirmans reflected on his decade-long tenure in an interview with the New York Times during Art Basel Miami Beach. He highlighted the museum's growth, including doubling its endowment (with 10% from the Fund for Black Art), expanding the collection to over 3,500 works, and launching digital initiatives like PAMM TV. Sirmans also criticized Florida Governor Ron DeSantis's 2024 veto of $32 million in arts funding, which left the state with zero arts funding for a period, though some funding was later restored.
A Los Angeles Times investigation has raised serious concerns about the financial management of the Palm Springs Art Museum, alleging significant accounting issues including improper reporting of endowment spending, inaccurate recording of donated and deaccessioned art values, and faulty admissions revenue tracking. The museum has publicly refuted these claims, asserting that its financial reviews have been thorough and that the Times' reporting relies on selective internal correspondence. The report notes that at least eight trustees have resigned, leaving the board short of its required 20 members, with one former trustee citing legal counsel for his departure and recommending the museum hire a forensic accounting firm.
A French court report reveals that the Louvre museum's security system was severely compromised at the time of a major jewel heist, with the password for its key surveillance server set to "Louvre" and another system protected by the password "THALES." The report from France's Court of Auditors, leaked to the press, details how the museum repeatedly postponed security upgrades while prioritizing high-profile acquisitions and renovations, despite an annual operating budget of €323 million. The heist saw roughly $102 million in French crown jewels stolen, and only 432 CCTV cameras monitored 465 galleries in 2024, leaving 61% of galleries without surveillance.
The Museum of Fine Arts, Boston has restituted two large-scale ceramic vessels by David Drake, an enslaved potter, to his known descendants. The works—a "Poem Jar" and a "Signed Jar," both from 1857—were acquired by the museum in 1997 and 2011 respectively. On October 16, the MFA deaccessioned the jars and transferred ownership to Drake's descendants via the Dave the Potter Legacy Trust. The museum then repurchased the "Poem Jar," which re-entered the collection on October 23, while the "Signed Jar" remains with the family on long-term loan to the museum. The decision followed discussions prompted by the exhibition "Hear Me Now: The Black Potters of Old Edgefield, South Carolina," co-organized with the Metropolitan Museum of Art.
The Metropolitan Museum of Art in New York is set to open "Divine Egypt" on October 12, 2025, the museum's first large-scale exhibition of ancient Egyptian art since 2012. The show features 210 objects, including strange and surreal works such as a limestone block with carved ears, a snake with a woman's head, and a giant quartz diorite scarab representing the god Khepri. Curated by Diana Craig Patch with research associate Brendan Hainline, the exhibition focuses on about 25 of the 1,500 gods worshipped in ancient Egypt, presenting them in nonchronological mini-sections that highlight how divine iconographies were remixed and subverted over time. Most works come from the Met's own collection, with none on loan from Egypt.
Consuelo Jimenez Underwood, a textile artist born in 1949 in Sacramento, has spent decades creating works that confront the US-Mexico border. In 2009, she was invited to participate in the group exhibition “Xicana: Spiritual Reflections/Reflexiones Espirituales” at the Triton Museum of Art in Santa Clara, California. Faced with a blank museum wall, she decided to “blow up the border,” creating her first large-scale installation, *Undocumented Border Flowers* (2010), which features a red gash representing the border surrounded by paper flowers of the four border states. This work launched her ongoing “BORDERLINES” series, which she has produced some 15 times across the country, often collaborating with schoolchildren or recently incarcerated women. Her practice is deeply personal: her father was an undocumented immigrant from Mexico of Huichol ancestry, and she spent her childhood as a migrant farmworker, following harvests along Highway 99. Her first woven artwork, *C.C. Huelga* (1974), was inspired by the United Farm Workers flag and leader César Chávez.
The Chicago History Museum has cut hours at its Abakanowicz Research Center by roughly 50%, reducing it to three days a week with limited hours, following staff reductions tied to a labor dispute. Employees voted to unionize in February under Chicago History Museum Workers United, and several organizers were later dismissed; remaining staff had their hours cut to part-time in July, losing health insurance and income. The cuts affect access to archival holdings including police records and personal papers of notable figures, which supported over 5,500 research requests in 2024.
The Museums Association (MA) in the United Kingdom has proposed a new code of ethics that, for the first time, explicitly mentions fossil fuel companies. The guidelines recommend that museums transition away from sponsorship by organizations involved in environmental harm, human rights abuses, or other activities misaligned with museum values, and instead seek ethical funding that serves community interests. MA members will vote on ratifying the changes from September 15 until the annual conference on October 7, with the last code updated in 2015.
Anonymous Was A Woman (AWAW) and the New York Foundation for the Arts (NYFA) have awarded $521,125 in grants to 29 environmental art projects led by women-identifying artists from the United States and its territories. The grants, up to $20,000 each, require a public engagement component to be completed by August 2026. Recipients include artists such as Heidi K. Brandow, Charlotte Brathwaite, Cara Romero, and collectives like BEAM and DeepTime Collective, working across locations from California to Senegal and South Korea.
The Smithsonian’s National Museum of Asian Art (NMAA) has announced it will host the first US exhibition of masterpieces from the collection of former Samsung Chairman Lee Kun-Hee this fall. Titled 'Korean Treasures', the show will feature over 200 items spanning 1,500 years, including a dozen National Treasures designated by the Korean government, many exhibited in the US for the first time. Co-organized with the Art Institute of Chicago, the National Museum of Korea, and the National Museum of Modern and Contemporary Art in Korea, the exhibition includes ancient Buddhist sculptures, ceramics, paintings, furnishings, and modern works. Highlights include Jeong Seon’s 'Clearing after Rain on Mount Inwang' (1751) and a 1459 woodblock-print book compiled by King Sejo. Nine items from the Leeum Museum of Art will be shown exclusively at the NMAA before the exhibition travels to Chicago and the British Museum.
The article covers several art market stories, including Melanie Gerlis's Financial Times piece on the big three auction houses increasingly relying on luxury sales amid a market downturn, with no clear solutions in sight. It also reports that the ADAA canceled its Art Show fair, citing a 'strategic pause' to reassess support for members in an evolving landscape. Additionally, the article details a controversy in Tasmania where a planned A$64.6 million art park at Macquarie Point, backed by Mona and aimed at addressing Aboriginal genocide, was scrapped in favor of a 23,000-seat AFL stadium. Finally, it notes that Darth Vader's lightsaber from Star Wars is heading to auction via Propstore, estimated at $1–3 million.
The Smithsonian Institution is facing renewed scrutiny from the Trump administration, this time targeting the National Museum of American History's permanent exhibition "Entertainment Nation." Fox News reported that the White House has raised concerns about wall texts in the display, which opened in 2022 and explores the entertainment industry's impact on American pop culture. One text notes that Mickey Mouse's design has roots in blackface minstrelsy, while another describes pop star Selena Quintanilla-Pérez as sparking conversations about identity and Latinx influence. A 1923 circus poster is accompanied by a placard linking circuses to colonial impulses. White House lawyer Lindsey Halligan criticized the exhibition as framing American culture as "inherently violent, imperialist, or racist." The Smithsonian has stated it is reviewing content to ensure it meets its standards of unbiased scholarship.
The Vatican Museums have unveiled the final room of the Raphael Rooms in the Apostolic Palace after a decade-long cleaning and restoration. The project revealed that Raphael used a novel mural painting technique, applying oil paint directly to the wall rather than using traditional fresco. Restorers discovered a grid of metal nails embedded in the walls, intended to hold a natural resin surface for the oil paint, confirming earlier reports of this experimental approach. The room, dedicated to the Roman emperor Constantine, was completed by Raphael's students after his death in 1520.
Maura Brewer, a Los Angeles-based artist and academic, creates video works that expose the role of art in money laundering. Her 2021 piece *Private Client Services* demonstrates the laundering process, while *Offshore* (2024) serves as a satirical guide for artists navigating global finance, featuring locations like the Cayman Islands and Geneva Freeport. Her ongoing project *Leverage* examines art-backed loans through the case of collector Daniel Sundheim. Brewer also works as a private investigator and recently lost her home in the Eaton Fire.
Tony Karman, the longtime director of Expo Chicago, will step down from his role at the end of June, remaining as president in an advisory capacity while the fair searches for a new director. Karman founded Expo Chicago in 2011, succeeding Art Chicago, and has led the fair through 14 editions, including its most recent one last month with 170 exhibitors and over 35,000 visitors. The transition follows Frieze's acquisition of Expo Chicago and the Armory Show in July 2023, and comes amid broader ownership changes at Frieze itself, which was recently sold to a company founded by Ari Emanuel and is now fully owned by private equity firm Silver Lake.
Agnes Questionmark, a multimedia performance artist based in Brooklyn, creates work exploring the trans body—encompassing transgender, transhuman, and trans-species identity—often with an aquatic, tentacular aesthetic. During a studio visit at the Brooklyn Navy Yard, she showed recent fabric works overpainted with acrylic and silicone, depicting organs in vivid reds and oranges. Her performances include TRANSGENESIS (2021), a 23-day endurance piece at Harlesden Highstreet in London, and CHM13hTERT (2023), a 16-day installation in a Milan subway station where she was suspended in a mermaid-like tail. She also produced an artist's edition, QuestionGen (2024), containing a capsule of her own DNA, made with biohacker Josie Zayner and publisher Nero.
The San Francisco Museum of Modern Art (SFMOMA) has cut 29 positions, nearly 8 percent of its workforce, with 26 of those affected being members of the Office and Professional Employees International Union Local 29. The layoffs, which include 20 full-time and 9 part-time roles, were announced abruptly with less than a day's warning, drawing criticism from union officials who say they were not given a chance to discuss alternatives or negotiate severance. Museum director Christopher Bedford stated the cuts were necessary due to financial challenges, and that enhanced severance packages were provided to union members. The affected staff reportedly hold public-facing or visitor service roles, and it remains unclear if curatorial or senior-level positions were included.
Israel’s foreign ministry has accused the Venice Biennale's jury of politicizing the exhibition after jurors announced they would not consider for prizes countries whose leaders face International Criminal Court charges for crimes against humanity. The jury’s statement, which did not name specific nations, is broadly understood to apply to Israel and Russia, both returning to the Biennale for the first time since the Gaza war and the Ukraine invasion, respectively. The Israeli ministry posted on X that the jury had decided to 'boycott' Israeli sculptor Belu-Simion Fainaru, calling it 'a contamination of the art world.' The Biennale distanced itself from the jury’s announcement, stating the jury acts autonomously, while the Russian pavilion is reportedly set to open only for a limited pre-opening period due to budget constraints amid sanctions.
Art Basel has announced a new initiative called Basel Exclusive for its flagship Swiss fair in June 2025, asking participating galleries to withhold their most important or expensive works from all pre-fair previews, online viewing rooms, and publicity. Instead, these "marquee works" will be unveiled for the first time during the First Choice VIP preview on 16 June. The initiative aims to restore a sense of surprise and urgency, countering the trend of galleries pre-selling works to clients before the fair opens. Around 170 galleries have already signed up, including major names like Gagosian, David Zwirner, Hauser & Wirth, Pace Gallery, and Sadie Coles HQ.