san francisco may destroy vaillancourt fountain in redevelopment plan

San Francisco is considering destroying the Brutalist Vaillancourt Fountain by Armand Vaillancourt as part of a redevelopment plan for Embarcadero Plaza. City officials, including Recreation and Park Commission general manager Phil Ginsburg, have discussed the redevelopment for over a decade, and the San Francisco Arts Commission is preparing to vote on deaccessioning the fountain. The fountain, completed in 1971, has been fenced off since June 2024 due to safety concerns and has not had running water since then, with repairs estimated at $28.9 million.

danielle seewalker palestine painting lawsuit settlement

Danielle SeeWalker, a Húŋkpapȟa Lakȟóta artist and citizen of the Standing Rock Sioux Nation, settled a lawsuit with Vail, Colorado, after the town canceled her artist residency in 2023. The cancellation followed her posting of a pro-Palestine painting titled "G for Genocide" on Instagram, which linked Palestinian and Indigenous liberation movements. The American Civil Liberties Union sued Vail on her behalf, alleging First Amendment violations. Under the settlement, SeeWalker may hold a powwow in Vail for five years, and the town will host a non-public community forum on Israel and Palestine involving Jewish, Palestinian, Muslim, and other community leaders.

painter morgan weistling dhs stole work social media homelands heritage

The US Department of Homeland Security (DHS) posted an image of Morgan Weistling's oil painting "New Life in A New Land" on its X account with the caption "Remember Your Homeland’s Heritage," without obtaining the artist's permission. Weistling publicly stated that the use was a violation of his copyright, expressing surprise and seeking next steps. The painting depicts a pioneer family in a covered wagon, and DHS had also recently used a Thomas Kinkade work without apparent authorization.

hew locke belgium sculpture cancelled

London-based British-Guyanese artist Hew Locke expressed disappointment on Instagram after learning that the city of Ostend, Belgium, canceled a site-specific artwork commissioned late last year. The newly-elected city council cited insufficient public consultation before accepting Locke's proposal, which aimed to re-contextualize a statue of former Belgian King Leopold II—a ruler notorious for brutal colonial exploitation in the Congo. Locke offered to extend public consultation and reduce the installation from ten to five years, but received no response. The council's decision was announced without joint press release coordination, and Locke has had no further communication from them.

spanish court franco heirs return cathedral statues santiago

Spain's Supreme Court has ordered the heirs of former dictator Francisco Franco to return two 12th-century religious statues depicting Isaac and Abraham to the city of Santiago. The sculptures, originally part of the Portico of Glory at the Cathedral of Santiago de Compostela, were removed under Franco's administration in the mid-20th century and transferred to the Meirás Palace at the request of Franco's wife. The court ruled that the transfer was illegal and that the statues remain the property of the city, rejecting the family's claim that they were purchased through an antique dealer in 1954.

meet erica simone photographer getting naked new york

Photographer Erica Simone has created a series of self-portraits titled "Nue York: Self-Portraits of a Bare Urban Citizen," in which she performs everyday New York City activities—hailing a cab, buying cigarettes, commuting through Midtown—while completely naked. The project, also published as a book, is on view at Castle Fitzjohns Gallery from January 14 to February 14, 2016. Simone aims to challenge the role of fashion in society and explore nudity beyond sexual connotations, though she acknowledges that her appearance as a young, thin, white, conventionally attractive woman may influence public reception.

on art history in times of war gaza islamic nasser rabbat

This essay by Nasser Rabbat reflects on the persistence and precarity of writing art history in times of war, specifically focusing on the field of Islamic art and architectural history. Rabbat draws a parallel to Gabriel García Márquez's novel *Love in the Time of Cholera* to frame his discussion, arguing that war is not a passing crisis but a persistent condition for the Islamic world. He traces how colonial conquests, postcolonial conflicts, and the ongoing Israeli genocide against Gaza have shaped the formation and theoretical orientation of Islamic art history as a Western scholarly endeavor, beginning with Napoleon's invasion of Egypt in 1798 and continuing through the "War on Terror."

lilo and stitch galleria dell accademia graceland

Disney has placed a white statue of the character Stitch from "Lilo & Stitch" inside the Galleria dell’Accademia in Florence, Italy, where it sits on a plinth near Michelangelo's David. The installation, part of a partnership between Disney and the Italian Ministry of Culture, promotes the upcoming live-action remake of the 2002 animated film. A promotional video shows Stitch causing mischief in the museum before carving its own marble likeness. The statue will be on view through June 20. Separately, Stitch also made an appearance at Graceland in Memphis, Tennessee, where it posed with Elvis Presley memorabilia and a pink Cadillac.

auction abraham lincoln memorabilia

A collection of Abraham Lincoln memorabilia, including personal possessions, autograph letters, and campaign artifacts, was auctioned by Freeman’s | Hindman in Chicago on May 22. The sale, held on behalf of the Lincoln Presidential Foundation, featured around 140 lots and exceeded expectations, totaling nearly $7.9 million. The top lot was a pair of blood-stained white kid gloves Lincoln wore the night of his assassination, which sold for $1.5 million. Other highlights included a cuff button bearing the initial 'L' that fetched $445,000 and a handwritten math exercise from Lincoln’s youth that sold for $521,200.

sculptor biohack agnes questionmark tentacular trans

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.

Open Letter in Support of the Artist Asel Kadyrkhanova

An open letter initiated by members of the Kazakhstani and international art community protests the removal of artist Asel Kadyrkhanova's work *Machine* (2013) from the Kazakhstan pavilion at the 2026 Venice Biennale. The mixed-media installation, which addresses Stalinist repression through a vintage typewriter, arrest warrants, and red threads, was dismantled on May 5, 2026, reportedly by order of Kazakhstan's Ministry of Culture and Information, just before the pavilion's opening. The artist and curator were allegedly pressured to alter the work beforehand, and the ministry initially cited restrictions from the Italian side, but the Italian Ministry of Defense denied involvement.

After Farce: Ubu, the Imperialist

The article examines the cultural and artistic response to Donald Trump's presidency, tracing how artists and critics initially invoked Alfred Jarry's absurdist character Ubu to make sense of Trump's first term. It argues that the second term has moved beyond farce into a normalized, active remaking of the international political order, with Trump pursuing overt imperial ambitions that exceed Jarry's original satire.

A Curator Died Suddenly. Could the Venice Biennale Be Saved?

Koyo Kouoh, the curator of the Venice Biennale’s centerpiece exhibition, died suddenly of cancer at age 57, just months into her tenure. She left behind a detailed plan for the exhibition, which her assistants are now working to realize in her absence.

Somali artists and culture workers express concern over Somalia Pavilion in Venice

Somali artists, cultural workers, and organizations have published multiple open letters and statements expressing concern over the Somalia Pavilion at the Venice Biennale. The pavilion, announced in March for the 2026 edition, is titled 'SADDEXLEEY' and features Somali-Swedish artist Ayan Farah, Somali-Danish poet and filmmaker Asmaa Jama, and Somali-British writer Warsan Shire, curated by Stockholm-based Mohamed Mire and Italian project manager Fabio Scrivanti. Critics, including the Somali Arts Foundation and the queer collective Warbixinta Cidda, allege that the pavilion was organized without meaningful consultation of artists and organizations based in Somalia, and object to the appointment of an Italian co-curator given Italy's colonial history in Somalia. An anonymous open letter further alleges intimidation and coercive pressure against critics, and demands Scrivanti's removal, calling for a boycott if demands are not met.

‘The Bed Trick’ by Izabella Scott, Reviewed

Izabella Scott's book *The Bed Trick* examines a British rape case in which Gayle Newland was convicted for pretending to be a man named Kai during a two-year relationship with a woman identified as Miss X. Drawing on court transcripts, Scott explores the legal concept of 'fraud vitiates consent' and traces the historical bed-trick trope from medieval folktales to *The Rocky Horror Picture Show*, questioning how much deception invalidates sexual consent.

Sung Tieu on Representing Germany at the 61st Venice Biennale

Sung Tieu, who is co-representing Germany at the 61st Venice Biennale alongside Henrike Naumann, responds to a questionnaire from ArtReview about her plans for the German Pavilion. She describes her inspiration as her mother and childhood home, a site built for foreign contract workers in the GDR that later became a refuge for the diaspora. Tieu states that her work relates to the Biennale theme "In Minor Keys" through the lens of Gehrenseestrasse, a concrete record of collective memory. She also expresses skepticism about the Biennale's importance, noting that the German Pavilion's fascist architecture compels artists to work against it, and that national pavilions reveal how much work remains in undoing nationalism.

The Interview: Gabrielle Goliath

Gabrielle Goliath, a South African artist, created the performance work "Elegy" in 2015 after hearing a father mourn his daughter, Ipeleng Christine Moholane, who was raped and murdered. The piece features seven operatic women sustaining a single note in relay for an hour, evolving over a decade into a series of iterations that address systemic violence and grief. In January 2026, South Africa's Minister of Sport, Arts and Culture, Gayton McKenzie, cancelled Goliath's presentation of the latest version of "Elegy" at the 61st Venice Biennale, which was to include tributes to victims in South Africa, Namibia, and Gaza, including journalist Hiba Abu Nada. Goliath refused to alter the work, took legal action, and will now show it independently at the Chiesa di Sant'Antonin in Venice, while the official South African Pavilion will remain empty for the first time since 2011.

Bugarin + Castle on Representing Scotland at the 61st Venice Biennale

ArtReview published a questionnaire response from Bugarin + Castle, the artist duo representing Scotland at the 61st Venice Biennale (2026). Their exhibition, titled "Shame Parade" and curated by Mount Stuart Trust, explores charivari—medieval public shaming rituals involving sound, costume, and cross-dressing. The work draws on the artists' research into how noise and music have been used as tools of control, with particular attention to the Filipino legal definition of charivari as a punishable public disturbance. The exhibition includes sculpture, print, moving image, and a musical score created with Manila-based band Kalye Teresa, and is housed at the Olivolo, Castello pavilion.

Long Live the King?

Sam Jacob's essay in ArtReview uses the upcoming Baz Luhrmann film 'EPIC: Elvis Presley in Concert' (2026) as a springboard to explore the cultural and technical implications of digital restoration. The film, a spinoff from Luhrmann's 2022 Elvis biopic, draws on 59 hours of previously unseen footage from Elvis Presley's 1970 and 1972 Las Vegas performances, recovered from Warner's Kansas salt-mine archive. Using Peter Jackson's Park Road Post technology—including Machine Assisted Learning (MAL) for demixing audio and video—the damaged, fragmented material has been digitally scanned, reconstructed, and enhanced to 4k resolution with 12-channel sound, presented in IMAX cinemas.

Nilbar Güreş on Representing Turkey at the 61st Venice Biennale

Nilbar Güreş, the artist representing Turkey at the 61st Venice Biennale (2026), responds to a questionnaire from ArtReview about her upcoming exhibition. She expresses exhaustion with having to explain herself to Western audiences and critiques the white, male-dominated art world. Her inspiration for the pavilion comes from this disgust and fatigue, and she states that the Biennale's theme, "In Minor Keys," did not guide her preparation. Güreş also voices disillusionment with the art world's silence on humanitarian crises, particularly the bombing of hospitals and children in Palestine, and notes that artists speaking out on Palestine face censorship and exclusion.

Nations Charged With Crimes Against Humanity Will Not Be Considered for Venice Biennale Awards

The jury for the 2026 Venice Biennale announced it will not consider contributions from countries whose leaders are charged with crimes against humanity for the Golden and Silver Lion awards, effectively excluding Israel and Russia. The decision, framed as a commitment to human rights and aligned with curator Koyo Kouoh's vision, comes amid broader controversy over participating pavilions, including American artists declining to represent the US and the EU withdrawing a $2.3 million grant over Russia's involvement.

All the Poetry of the Sky on Show in a Rome Grand Hotel, Reminding Us of Our Own Complexity

Tutta la poesia del cielo in mostra nel grand hotel di Roma per ricordarci la nostra stessa complessità

Artist Giovanni Ozzola has opened a solo exhibition titled 'Il Cielo Dentro' (The Sky Within) at the Galleria Continua's space within The St. Regis hotel in Rome. The show features works centered on the sky as a metaphor for the vastness both outside and within the human experience, exploring the tension between internal and external horizons through light and abandoned architectural spaces like bunkers.

Off-Site Exhibitions Review: The Politics of Listening

Andrew Durbin reviews the national pavilions at an unnamed biennial, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review critiques the lack of meaningful engagement in the US pavilion while praising the depth and emotional resonance of the British and German contributions.

The Books That Influence Sohrab Hura

Andrew Durbin reviews the national pavilions at an unnamed biennial, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review critiques the lack of meaning in the US pavilion while praising the depth and emotional resonance of the British and German contributions.

How to Have the Perfect Day at Frieze New York 2026

Andrew Durbin reviews the national pavilions at Frieze New York 2026, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review highlights the disparity in conceptual depth and emotional resonance among the three pavilions, with the US offering little meaning while the British and German contributions engage seriously with contemporary issues.

What’s Showing in Chelsea During Frieze Week New York

This article is a critic's guide reviewing national pavilions during Frieze Week New York. Andrew Durbin contrasts a vacuous US presentation with incisive and moving installations from Britain and Germany, questioning the meaning and depth of the American contribution.

‘Afterimages’: What Does It Mean to See Through Overload?

Andrew Durbin reviews the national pavilions at the Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The article critiques the lack of meaningful engagement in the US pavilion while praising the depth and emotional resonance of the British and German contributions.

‘YBA & BEYOND’ Exports British Cool

Frieze critic Andrew Durbin reviews the national pavilions at the Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The British pavilion, titled 'YBA & BEYOND,' exports British cool by showcasing works from Young British Artists and their successors, while the German pavilion offers a deeply resonant experience. The US pavilion is criticized for lacking meaningful content, raising questions about curatorial direction and national representation.

Ariel West Probes Our Desire for Oil

Andrew Durbin reviews the national pavilions at the 2026 Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review critiques the US pavilion for lacking meaningful content, while praising the British and German contributions for their depth and emotional resonance.

Nikita Kadan Questions Whether War Ever Ends

Ukrainian artist Nikita Kadan, in an interview with Frieze, reflects on his practice and the ongoing psychological and physical toll of war, questioning whether conflict ever truly ends. He discusses his recent works, which grapple with the persistent state of war in Ukraine, the transformation of urban spaces, and the collective trauma that outlasts active hostilities.