Venice, Here We Come

Hyperallergic's newsletter previews the upcoming 61st Venice Biennale, noting the charged political climate that may overshadow the art. It highlights the main exhibition "In Minor Keys" conceived by the late Koyo Kouoh, and includes a guide to national pavilions, collateral events, and notable exhibitions in Venice. The edition also features a studio visit with 93-year-old artist Joan Semmel, an interview with Lebanese artist Tania El Khoury about her "revenge art," and news about Barbara Chase-Riboud declining to represent the US at the Biennale, a $116M gift to the National Gallery of Art, and the death of Argentine painter Ides Kihlen at 108.

How Tech Billionaires Turn Couture into Content

Wie Tech-Milliardäre Couture zu Content machen

The Met Gala, long considered the premier event for fashion and cultural influence, has become increasingly dominated by tech billionaires. This year, Jeff Bezos and Lauren Sánchez Bezos purchased their role as co-hosts, sparking protests in New York and raising questions about whether money alone now buys entry into the highest echelons of fashion. Individual tickets cost $10,000 and a table $350,000, with sponsors including OpenAI, Snapchat, and Meta. The event, organized by Anna Wintour to raise funds for the Costume Institute at the Metropolitan Museum of Art, raised $31 million last year but has transformed from a benefit into a spectacle optimized for viral moments and algorithmic appeal.

"Du bist nun in die ewigen Jagdgründe der Kunst entschwunden"

This week's art news roundup covers several stories: Jonathan Meese publishes an obituary for his mother Brigitte Meese in Der Spiegel, describing her as a central figure in his life and work. Pussy Riot seeks to take over the Russian Pavilion at the Venice Biennale. The European Media Art Festival (EMAF) in Osnabrück faces controversy over antisemitism allegations linked to Palestinian-American filmmaker Basma al-Sharif, leading the city and state government to distance themselves from the festival. In the NZZ, Christian Wildhagen reports on conflicts over official political portraits, citing examples like Swiss councilor Martin Neukom rejecting paintings and Donald Trump criticizing his portrait. Art historian Horst Bredekamp pays tribute to Italian philosopher Federico Vercellone (1955–2026) in the FAZ, highlighting his theory of the 'self-activity of form.'

Required Reading

Required Reading

Thousands marched in Buenos Aires on March 9 for a 24-hour women's strike, with one group staging a symbolic artwork by wrapping a continuous blindfold across their faces to protest patriarchal control. This followed a UN report urging Argentina's government to address gender-based violence. Separately, a *Guardian* investigation revealed UK museums hold over 260,000 human remains, many taken from former colonies, which MPs have condemned as a barbaric legacy of imperialism.

Artists Criticize Somalia’s First-Ever Venice Biennale Pavilion: ‘This Pavilion Does Not Speak for Us’

Somalia's inaugural pavilion at the Venice Biennale has sparked significant backlash from the nation's domestic art community. Four major Somali art spaces and nine local artists issued a joint statement criticizing the pavilion for failing to include or consult artists currently living and working within Somalia. The controversy centers on the selection of three diaspora artists based in Europe and the appointment of a Venice-based co-curator, which critics argue ignores the cultural workers who have rebuilt the country's art scene under difficult conditions.

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The Venice Biennale is facing intense international backlash following its decision to allow Russia to return for the 2026 edition after a hiatus caused by the invasion of Ukraine. High-ranking politicians from 22 European nations, along with thousands of artists and curators, have signed open letters condemning the move as a platform for state-directed cultural diplomacy and war-crime whitewashing. The Biennale has defended its stance by claiming a policy of non-censorship, asserting that it accepts any nation recognized by the Italian government.

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Turner Prize-winning artist Tai Shani has officially terminated her book contract with Phaidon, the prominent arts publisher owned by billionaire collector Leon Black. Shani cited Black’s extensive financial ties to the late sex offender Jeffrey Epstein and the "horrific allegations" of sexual assault leveled against Black as the primary reasons for her withdrawal. Describing the move as a "feminist practice" of refusal, Shani walked away from a planned monograph despite praising the publisher's editorial team.

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Yasha Grobman, an architect and researcher, has been appointed director general of the Israel Museum in Jerusalem, ending a prolonged leadership crisis. He succeeds Suzanne Landau, who stepped down after serving as interim director since September 2023. Grobman, a former dean of the Faculty of Architecture and Town Planning at the Technion–Israel Institute of Technology, has been publicly critical of Prime Minister Benjamin Netanyahu’s government and has spoken at protests in Haifa opposing the war in Gaza. His appointment follows a discreet search by a board-appointed committee and comes as the museum faces financial strain, reduced hours, and a decline in international activity.

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The Department of Homeland Security under Donald Trump's second term has been using social media to post artworks like John Gast's 1872 painting 'American Progress,' which allegorizes Manifest Destiny by depicting Native Americans being forced out. The Thomas Kinkade Foundation is considering legal action over unauthorized use of Kinkade's work. Separately, a course titled 'Generative AI for Artists' at the University of New South Wales in Australia has sparked student protests, with over 7,000 signatures on a petition demanding its cancellation. Meanwhile, arts organizations in New South Wales received $15.4 million in state funding, and a dust storm at Burning Man destroyed Oleskiy Sai's inflatable sculpture 'Black Cloud (2025).'

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On Friday, May 23, arts and culture workers protested at the Whitney Museum in New York following the museum's cancellation of a pro-Palestine performance titled "No Aesthetics Outside My Freedom: Mourning, Militancy, and Performance" by artists Fadl Fakhouri, Noel Maghathe, and Fargo Tbakhi. The protest, organized by Writers Against the War on Gaza, took place during the museum's Free Friday Night event, with demonstrators unfurling a Palestinian flag and a banner reading "Creativity Does Not Have to Rely on Death," distributing brochures demanding the removal of board members with ties to Israel, and calling out museum leadership for censorship. The performance, originally scheduled for May 14 as part of the Whitney's Independent Study Program, was canceled after museum leadership viewed a recording of its initial presentation at the Poetry Project, citing concerns that it "valorized specific acts of violence" and singled out community members based on belief systems.

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The Suter Art Gallery in Nelson, New Zealand, removed an artwork by Māori artist Diane Prince after public outcry. The piece, a new version of her 1995 work *Flagging the Future*, featured the New Zealand flag printed with the words “PLEASE WALK ON ME” and was part of a solo show organized by Pātaka Art + Museum. Local resident Ruth Tipu protested by picking up the flag daily, citing distress over the flag being walked on, especially given her grandfather’s service in the Māori Battalion. The museum cited an escalation in hostile discourse as the reason for removal, while affirming support for freedom of expression.

The art of politics: how global conflicts are playing out in this year's Venice Biennale

Israel is making a controversial return to the 2025 Venice Art Biennale after its pavilion was locked in 2024 with a note demanding a ceasefire in Gaza. The artist representing Israel, Belu-Simion Fainaru, will present his project "Rose of Nothingness" in the Arsenale, while Russia also returns to the Biennale after its Giardini pavilion was reassigned to Bolivia in 2024. The Art Not Genocide Alliance (ANGA) has renewed calls for a boycott and is organizing strike action to disrupt the event, accusing Israel of genocide.

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Curator and artist Christine “C.” Finley has launched the second edition of the Whitney Houston Biennial, an all-female contemporary art survey titled “Greatest Love of All.” Hosted at a chashama space in Manhattan, the exhibition features 125 women artists in a salon-style presentation. The show serves as a scrappy, inclusive alternative to the Whitney Museum’s official biennial, emphasizing female legacy by requiring each participant to submit a text honoring a woman who paved the way for them.

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The Walker Art Center and the Minneapolis Institute of Art have announced they will cease contracting with the Minneapolis Police Department for security at events. The Walker's decision demands the MPD implement reforms, including demilitarizing training and holding officers accountable, stating 'George Floyd should still be alive.'

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Artist Khaled Sabsabi and curator Michael Dagostino have been reinstated to lead Australia’s pavilion at the 61st Venice Biennale, following an independent review of Creative Australia’s decision to drop them in February 2025. The initial removal came after right-wing politicians raised allegations of antisemitism against Sabsabi, whose work often addresses Islamophobia and Arab identity, particularly his 2007 video "You" featuring Hezbollah leader Hassan Nasrallah. The reversal follows resignations, boycotts, and widespread protests from the Australian arts community.

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The Metropolitan Museum of Art unveiled its new $65 million David H. Koch Plaza on Tuesday, featuring two 48-jet granite fountains, 106 newly planted trees, and shaded seating areas. The dedication ceremony included remarks from Met director Thomas Campbell, outgoing president Emily Rafferty, and trustee David Koch, who funded the project. However, the opening was disrupted by protesters criticizing Koch's climate change denial, leading to police clearing the plaza.

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On September 8, 2025, street artist Banksy painted a new mural on an exterior wall of the Royal Courts of Justice in London, depicting a judge using a gavel to beat a protester lying on the ground, with a red blood-like spatter on the protester's placard. The artwork was quickly covered and guarded, and by September 10, a masked man was filmed scrubbing the image off the wall while police stood nearby. The Ministry of Justice stated the mural was destroyed because the building is a protected heritage site, and the court was obliged to maintain its original character.

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On September 8, 2025, street artist Banksy unveiled a new mural on the side of the Royal Courts of Justice in London, depicting a judge beating a protester with a gavel. Banksy confirmed the work's authenticity via Instagram, and within hours, the mural was covered up and guarded by security officers. Local reports suggest the artwork references the recent arrest of nearly 900 pro-Palestine protesters in London on September 6.

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This article explores the artistic tradition of Singerie, or 'monkey trick,' a genre that depicts primates dressed and acting like humans. It traces the history from its origins in the early 1600s through its peak in the Rococo period, citing examples such as Jan Brueghel the Elder's 'Monkeys Feasting' (c. 1620) and Edwin Landseer's 'The Monkey Who Had Seen the World' (1827). The piece connects this historical convention to contemporary culture, noting its influence on the 2024 Robbie Williams biopic 'Better Man,' where the singer is portrayed as a chimpanzee, and on modern satirical works like Banksy's 'Devolved Parliament' (2009).

Statue with Banksy signature of man blinded by flag appears in London

A new statue bearing Banksy's signature has appeared in Waterloo Place, central London, depicting a man marching forward with a large flag obscuring his face. The elusive artist has not yet confirmed the work, though he typically posts confirmation on his website after public discovery. The statue stands near monuments to Edward VII and Florence Nightingale, and follows Banksy's previous sculptural works like *The Drinker* (2004) and recent murals addressing homelessness and protest.

Ai Weiwei and the Art of Keeping Your Mouth Shut

Dissident artist Ai Weiwei explores the corrosive nature of state control and self-restraint in his new book, "On Censorship" (2026). Drawing from a lifetime of persecution—including his father’s exile to a labor camp, his own 81-day detention in 2011, and recent digital erasure by Chinese AI—Ai argues that censorship fundamentally strips individuals of their humanity. He highlights how the mechanism of silencing has evolved from overt state violence in the East to a more insidious culture of self-censorship in the West, exemplified by the cancellation of his own 2023 exhibition at Lisson Gallery following comments on the conflict in Gaza.

Open Letter Published by Activist Group Calling for Venice Biennale to Eject Israel Signed by Nearly 200 Participating Artists and Curators

An activist group called Art Not Genocide Alliance has published an open letter demanding the Venice Biennale eject Israel from this year's exhibition. The letter has been signed by nearly 200 artists, curators, and arts workers participating in the 2026 Biennale, including members of the main exhibition's curatorial team and contributors to several national pavilions. The letter accuses Israel of genocide and apartheid, and references the 2024 Biennale where Israel's pavilion remained closed due to similar protests.

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The Trump administration has escalated its attacks on billionaire philanthropist George Soros, with the Justice Department calling for an investigation into his Open Society Foundations. The foundations, which provide substantial grants to artists and human rights organizations globally, are accused of potential racketeering, wire fraud, and material support for terrorism, based on allegations from the conservative Capital Research Center. Soros, a major Democratic donor, has previously been targeted by Trump and Vice President JD Vance, who claim the foundations fund leftist protests. The Open Society Foundations have awarded $100,000 fellowships to numerous prominent artists, including Firelei Báez, Yto Barrada, and Nicholas Galanin, and provided $1.2 billion in funding in 2024 alone.

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Conservative religious groups in Austria have launched a campaign against the exhibition “You Shall Make For Yourself An Image” at Vienna’s Künstlerhaus contemporary art museum, which explores Christian iconography from critical, feminist, and queer perspectives. The backlash, including an online petition and a “prayer of atonement” protest outside the museum, has been linked to a prior attack on another religious-themed exhibition at a Jesuit Church in Vienna. The show features over 30 artists, including Martin Kippenberger, Andres Serrano, and Marina Abramović, and has drawn particular ire for works like Kippenberger’s crucified frog and Anouk Lamm Anouk’s depiction of the Virgin Mary as a transgender woman.

The Artists Who Put Their Bodies Into the Work

This article from Google News, dated May 3, 2026, profiles a selection of artists who have used their own bodies as central elements in their work. It draws a connection to the Metropolitan Museum of Art's spring Costume Institute exhibition, "Costume Art," which places fashion in dialogue with other artworks. The roundup includes Marina Abramović, known for her 2010 MoMA performance "The Artist Is Present"; Chris Burden, who staged dangerous works like "Shoot" (1971); David Hammons, creator of the "Body Prints" series; Frida Kahlo, whose painting "The Broken Column" (1944) depicts her own physical pain; Ana Mendieta, whose "Silueta" series used her figure in the landscape; and Yoko Ono, a conceptual artist with a significant body-based practice.

Islamophobia, motherhood, war and immigration: Indy artists get political

Four Indianapolis-based artists—Salma Taman, Alejandra Carrillo, Bailey Jörk, and Iryna Bondar—are creating work that directly responds to contemporary political and social crises, including the war in Gaza, immigration, and political division. Their art, ranging from Taman's Arabic calligraphy painting promoting forgiveness to Carrillo's digital drawing protesting a migrant detention center, serves as a form of personal and communal expression in a fraught global climate.

High Museum shines a light on an artist who protested, ‘I am not a designer’

The High Museum of Art in Atlanta has launched a major retrospective titled “Isamu Noguchi: ‘I am not a designer,’” exploring the prolific career of the Japanese-American artist. Curated by Monica Obniski, the exhibition features over 200 objects including sculptures, stage sets, furniture, and architectural models. A central highlight is the connection to Atlanta’s own Piedmont Park, which houses "Playscapes," the only artist-designed playground Noguchi completed in the United States, currently celebrating its 50th anniversary.

'Monuments' is the most significant American art museum show right now

The article reports on "MONUMENTS," a major exhibition jointly organized by the Museum of Contemporary Art (MOCA) in Los Angeles and the nonprofit Brick. The show features 10 decommissioned Confederate monuments, some splashed with protesters' paint, alongside works by 20 contemporary artists including Hank Willis Thomas and Karon Davis. It was assembled by curators Hamza Walker, Hannah Burstein, Bennett Simpson, Paula Kroll, and artist Kara Walker, and has been in development for nearly eight years, spurred by events such as the 2015 Charleston church massacre, the 2017 Charlottesville riot, and the 2020 George Floyd protests.

Young at art: inside Frieze London's Focus section

Frieze London's Focus section, dedicated to galleries aged 12 years or younger, features six standout booths showcasing diverse materials and themes. Artists include Alex Margo Arden (with mannequins from the National Motor Museum), Luís Lázaro Matos (a queer myth of a stranded beluga whale), Rim Park (plant anatomy reliefs and etchings), Lara Fluxà (precarious glass and tar sculptures), and Delaine Le Bas (calico fabric works with protest messages). The section is noted for its variety beyond painting, with climate breakdown emerging as a recurring theme among younger artists.

‘Why don’t you talk about the hostages?’: Nan Goldin interrupted by protester during Gaza-focused speech at Rencontres d’Arles

American photographer Nan Goldin was confronted by a protester during her acceptance of the 2025 Women In Motion Award at the Rencontres d'Arles photography festival. Goldin used the occasion to speak about the humanitarian crisis in Gaza, describing the conflict as "the first live-streamed genocide" and projecting images of Gaza before and after the Israeli military campaign. A woman in the audience repeatedly shouted, "Why don't you talk about the hostages?" while other audience members chanted "Free Palestine." Goldin responded by acknowledging the 7 October attacks but emphasizing the scale of Palestinian casualties. She also accused the Israeli government of conflating anti-Zionism with antisemitism and of putting drugs in flour delivered to Gaza, a claim not independently verified.