The National Gallery in London will host "Van Eyck: The Portraits" in November, a landmark exhibition uniting all nine of Jan van Eyck's surviving portraits for the first time. This includes masterpieces like *The Arnolfini Portrait* (1434) and loans from the Gemäldegalerie in Berlin, the Groeningemuseum in Bruges, and the Kunsthistorisches Museum in Vienna, alongside the recently conserved *Portrait of a Man (Self Portrait?)* (1433).
The article explores the enduring appeal of James McNeill Whistler's 1871 painting commonly known as "Whistler’s Mother," officially titled "Arrangement in Grey and Black, No.1." It recounts how the painting was acquired by the French state in 1891 and became the first American painting in the Louvre, now housed at the Musée d'Orsay. The piece also reveals little-known facts: the sitter's full name was Anna Matilda McNeill Whistler, who wore mourning clothes for 31 years after being widowed and moved in with her son in London, displacing his mistress. The article includes her recipe for a dessert called Floating Island and notes that Whistler incorporated his earlier etching "Black Lion Wharf" into the portrait.
In 1975, artists Red Grooms and Mimi Gross created "Ruckus Manhattan," a monumental multimedia recreation of New York City landmarks from Lower Manhattan to Times Square, built in a vacant lobby at 88 Pine Street with a team of 20 to 30 artists called the Ruckus Construction Co. Half a century later, the Brooklyn Museum is exhibiting excerpts from the project, and for the first time properly credits Gross as co-creator, correcting decades of obscuring her role when the work was shown at Marlborough Gallery, which represented only Grooms.
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.
Artnet News asked leading curators and museum directors to share their favorite artworks of all time. Connie Butler of MoMA PS1 chose David Hammons's "Bliz-aard Ball Sale" (1983), praising its connection from Duchamp to AI. Julieta Gonzalez of the Wexner Center selected Hans Holbein the Younger's "The Ambassadors" (1533), highlighting its anamorphic skull as a metaphor for viewing modernity from the margins. Madeleine Grynsztejn of MCA Chicago picked Francisco Goya's "A Pilgrimage to San Isidro" (1819–23) from his Black Paintings cycle, calling it a metaphor for fanaticism.
An unsanctioned augmented reality exhibition titled “Encoded” has taken over the American Wing of the Metropolitan Museum of Art, featuring works by 17 North American Indigenous artists. The exhibition, organized by the nonprofit media lab Amplifier and co-curated by Tracy Rector, overlays digital artworks onto iconic paintings and sculptures, including a piece by Josué Riva that replaces Thomas Sully’s portrait of Queen Victoria with a moving image of Acosia Red Elk (Umatilla, Cayuse & Nez Perce) delivering the message “Be a Good Ancestor.” The intervention launched on Indigenous Peoples’ Day and Columbus Day, October 13, 2025, and runs through December 13, without the Met’s permission.
Kathleen Goncharov, a curator known for her work at Just Above Midtown gallery and the Boca Raton Museum of Art, died at her home in Boca Raton, Florida, on December 31 at age 73. Over her career, she served as senior curator at the Boca Raton Museum of Art from 2012 to 2025, curated exhibitions internationally from Rio de Janeiro to Rome, and was commissioner of the US Pavilion for the Venice Biennale in 2003, presenting Fred Wilson's exhibition "Speak of Me as I Am." She also held positions at Creative Time, the New School, MIT, the Nasher Museum of Art, and the Brodsky Center for Innovative Editions, and was a working artist for 40 years.
Christie’s announced a projected sales total of $2.1 billion for the first half of 2025, matching its H1-2024 figure. While art categories like Impressionist, modern, and Old Masters saw modest growth—Old Masters sales rose 15% to $55 million—luxury categories (handbags, watches, cars, jewelry) surged nearly 30% to $468 million, now accounting for 22% of the total. Notable sales included René Magritte’s *La reconnaissance infinite* (1933) for £10.3 million and Piet Mondrian’s *Composition with Large Red Plane, Bluish Grey, Yellow, Black, and Blue* (1922) for $46.7 million. Guaranteed lots remained low at 1.5%, and the sell-through rate held steady at 88%.
Sotheby's held its inaugural Abu Dhabi Collectors' Week at the St. Regis Island Resort on Saadiyat Island, transforming the venue into a luxury showcase with handbags, diamonds, watches, a non-selling art display worth $500 million, and rare cars. The week culminated in open-air auctions under a full moon, netting $133 million—far exceeding the $17 million from Sotheby's first Middle East luxury sale in Saudi Arabia earlier this year. Highlights included a 1994 McLaren Formula 1 car sold for $25.3 million, a Jane Birkin Hermès handbag that fetched $2.9 million, and a 31.68-karat pink diamond called The Desert Rose that went for $8.8 million. A jewelry and timepieces sale achieved white-glove status, taking $25.4 million.
Frank Lloyd Wright, the renowned architect of New York's Solomon R. Guggenheim Museum, underwent bizarre medical treatments at the urging of Hilla Rebay, the artist and curator who commissioned him to design the museum. Rebay, a Prussian-born baroness and advisor to Solomon R. Guggenheim, convinced Wright to have all his teeth pulled and replaced with dentures within six weeks of their meeting, and also subjected him and his wife to leech bloodletting to drain 'old' blood. The Wrights stopped following her advice when she eyed their daughter's teeth.
Tony Shafrazi, the legendary and controversial New York art dealer, is returning to the art fair circuit for the first time since 2012 with a booth at the Independent 20th Century fair in New York. He is presenting works by Armenian sculptor Zadik Zadikian, whose installation of gold bricks Shafrazi first exhibited in Tehran in 1978 before they were lost in the Iranian Revolution, alongside paintings by Brandon Deener. Shafrazi, now in his 80s, closed his New York gallery in 2011 and was banned from Art Basel in 2012 for breaking the fair's rules.
France’s Bayeux Tapestry will be loaned to the British Museum in 2026, with the UK Treasury providing an indemnity guarantee of approximately £800 million ($1 billion) to cover potential damage or loss during transport and display. The guarantee, part of the UK government’s indemnity scheme, is a contingent liability—no upfront payment is required unless something goes wrong. The tapestry will travel by truck via the Channel Tunnel in a specially designed crate, displayed behind protective screening, and remain in London until July 2027. The loan is part of a broader cultural agreement between Britain and France, announced by President Emmanuel Macron during his July state visit to London.
Artnet News asked several working artists—Manuel Mathieu, Hanna Salomonsson, Aki Sasamoto, Nigel Hall, Sharmistha Ray, and Miljohn Ruperto—to share the practical and philosophical lessons that sustain their creative practices. Topics include building trust with collaborators, navigating financial uncertainty, setting up shared studio spaces, using recycled materials, maintaining optimism at age 82, reframing rejection, and adapting to the expectation that artists must act as entrepreneurs before their first gallery show.
The Metropolitan Museum of Art in New York has opened "Seeing Silence: The Paintings of Helene Schjerfbeck," the first major U.S. survey of the Finnish modernist painter. The exhibition features approximately 60 works spanning Schjerfbeck's entire career, drawn primarily from the Finnish National Gallery / Ateneum Art Museum, as well as other Finnish and Swedish collections. Curated by Dita Amory of the Met and Anna-Maria von Bonsdorff of the Ateneum, the show takes a thematic rather than chronological approach, highlighting Schjerfbeck's evolution from academic realism to a distinctive, introspective modernism.
On October 19, 2025, thieves disguised as construction workers stole $102 million in French crown jewels from the Louvre, but the article contrasts this with the far more infamous 1911 heist of Leonardo da Vinci's *Mona Lisa*. The 1911 theft was carried out by Vincenzo Peruggia, an Italian handyman and museum employee who hid in a supply closet, removed the painting's glass casing (which he had installed), and fled with two accomplices via subway. The theft went unnoticed for 28 hours, and the French press sensationalized the story, even accusing figures like J.P. Morgan and Pablo Picasso.
Artnet News published a roundup of 10 art historical deep dives from 2025, curated by an editor who expresses a deep passion for art history. The article highlights several featured stories, including the eccentric tale behind Carl Kahler's monumental cat painting "My Wife's Lovers" (1891), commissioned by Gilded Age patron Kate Birdsall Johnson; the record-breaking sale of Gustav Klimt's "Portrait of Elisabeth Lederer" for $236.4 million at Sotheby's New York, with its rich symbolism and Imperial Chinese motifs; the online resurgence of August Friedrich Schenck's obscure 19th-century painting "Anguish" (ca. 1878), popularized by TikTok; and the centenary of F. Scott Fitzgerald's "The Great Gatsby" with a deep dive into Francis Cugat's iconic cover art "Celestial Eyes" (1924).
Jack Whitten is the recipient of the 2025 ARTnews Award for his retrospective "Jack Whitten: The Messenger" at the Museum of Modern Art, New York, running from March 23 to August 2, 2025. Curated by Michelle Kuo with Helena Klevorn, Dana Liljegren, and David Sledge, the exhibition features 175 works spanning Whitten's six-decade career, highlighting his innovative use of acrylic paint, his custom squeegee-like tool called the Developer, and his mosaic-like paintings made from dried acrylic chips. The show includes early works from the civil rights era, mid-career homages to Black thinkers like W.E.B. Du Bois and Ralph Ellison, and a monumental abstraction memorializing 9/11.
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.
Artissima, Italy's only contemporary art fair, closed its 32nd edition on November 2, 2025, at the Oval Lingotto Fiere in Turin, drawing 34,500 visitors and 176 galleries from 36 countries. Directed by Luigi Fassi for the fourth year, the fair ran from October 30 to November 2, featuring 63 monographic presentations and 26 first-time exhibitors. The edition introduced a new 5% VAT rate on artworks in Italy, awarded 13 prizes including the new Vilnius Residency Prize, and saw the Fondazione Arte CRT Acquisition Fund acquire 26 works for GAM Torino and Castello di Rivoli, marking its 25th anniversary. Special projects included "From Japan: Anonymous Art Project" and a film screening by Basim Magdy at Parco Michelotti.
In 2025, a series of major art restorations unveiled transformative discoveries in masterpieces by Caravaggio, Raphael, and Artemisia Gentileschi, among others. Caravaggio's final work, *The Martyrdom of St. Ursula* (1610), owned by Intesa Sanpaolo, was cleaned ahead of Rome's "Caravaggio 2025" exhibition, revealing hidden faces and a soldier's helmet previously only visible by x-ray. At the Vatican Museums, a decade-long restoration of the Raphael Rooms concluded with the revelation that two allegorical figures in the Hall of Constantine were painted by Raphael himself, not just his assistants, rewriting art history. Meanwhile, Artemisia Gentileschi's *Hercules and Omphale* (ca. 1635–37), damaged in the Beirut explosion, underwent emergency conservation by the Getty.
The Detroit Institute of Arts (DIA) has released a 50th-anniversary remake of its iconic 1976 television commercial, "You Gotta Have Art." The original spot, created by advertising agency W.B. Doner & Co., featured museum staff, volunteers, and local performers singing and dancing among masterpieces. The new version, directed by DIA's Director of Visual Media Adam Kosberg, recreates the original shot-for-shot, incorporating updated choreography, a Motown-influenced arrangement by Detroit musicians Marion Hayden and Alvin Waddles, and appearances by local artists including Carole Harris and Allie McGhee, who reprised their roles from the 1976 film. Over 200 museum employees and performers from Wayne State University participated in the production.
The article recounts the author's experience attending Baku Art Weekend in Azerbaijan, a festival centered at the Zaha Hadid-designed Heydar Aliyev Centre. The event featured a major exhibition of Fernando Botero's work, "The Triumph of Form," alongside kinetic installations by Daniel Wurtzel and sculptures by Jorge Marín. The festival is shaped by Leyla Aliyeva, vice president of the Heydar Aliyev Foundation and daughter of Azerbaijan's president, who aims to position Baku as a global cultural capital.
A previously unknown painting by Artemisia Gentileschi, *Hercules and Omphale* (ca. 1635–37), was identified after being damaged in the 2020 Beirut port explosion. The work, which hung in Beirut’s Sursock Palace, underwent a three-year conservation at the J. Paul Getty Museum and is now on view at the Columbus Museum of Art in the exhibition *Artemisia Gentileschi: Naples to Beirut*. It depicts the Greek myth of Queen Omphale enslaving Hercules, a rare subject for Gentileschi that subverts traditional gender roles.
Mathaf: Arab Museum of Modern Art in Doha has appointed Lebanese architect Lina Ghotmeh to lead a major campus expansion, announced as the institution celebrates its 15th anniversary. The project will redesign the ground floor lobby and library as an open majlis-inspired space, expand the cafe and shop, add a monumental portrait by Yan Pei-Ming, and later transform the plaza and parking area into artist studios, ceramics facilities, glass and material labs, and a sound studio in collaboration with Tarek Atoui. Mathaf director Zeina Arida called the plan 'a new chapter' for the museum.
Texas State University (TXST) canceled a scheduled appearance of the Black History 101 Mobile Museum at its San Marcos campus for Black History Month 2026, prompting a First Amendment challenge from the American Civil Liberties Union (ACLU) of Texas. The museum's founder, Khalid El-Hakim, had been invited by a campus activities director on October 13, 2025, but the invitation was rescinded on October 28 after consultation with supervisors and leadership. The ACLU's letter to TXST president Kelly Damphousse cited a 2023 Texas Senate bill banning DEI programs at public universities and the state's political climate as reasons for the cancellation, though the university denied the DEI ban was the cause.
The Guggenheim Bilbao has scrapped plans for a €100 million satellite expansion in Spain's protected Urdaibai biosphere reserve after nearly two decades of legal challenges and local opposition. The museum's board of trustees, including the Basque regional government and the Solomon R. Guggenheim Foundation, voted to halt the project due to insufficient public support and scientific objections. The two-site expansion would have placed cultural facilities in Gernika and Murueta, but environmental groups argued that up to 140,000 annual visitors would damage wetlands crucial for migratory birds.
Konstantin Akinsha, a prominent curator and art historian of Russian and Ukrainian art, has identified 14 artworks in the collection of the Palazzo de Nordis museum in Cividale del Friuli, Italy, as likely forgeries. In a Substack post and interview with ARTnews, Akinsha scrutinized the De Martiis Collection, donated in 2015 by the late collector Giancarlo De Martiis, which includes works attributed to Russian and Ukrainian modernist painters. He points to suspicious provenances involving Jean Chauvelin, a disgraced French art dealer, and Boris Gribanov, a convicted forger. A specific still life attributed to Olga Rozanova (1915-17) is nearly identical to a 1999 painting by contemporary Russian artist Andrei Saratov, who confirmed he did not paint the museum's version. Elisabetta Gottardo, the municipal head of culture, acknowledged Akinsha's authority and pledged further investigation.
Wong Ping and Heidi Lau have been named joint winners of the third edition of the Sigg Prize, a biennial award stewarded by Hong Kong's M+ museum since 2018. This marks the first time the prize has recognized two artists simultaneously. Wong, based in Hong Kong, won for his animated narrative *Debts in the Wind* (2025), a lo-fi, darkly humorous commentary on a local land dispute over a golf course. Lau, born in Macau and now based in New York, won for *Pavilion Procession* (2025), an altar-like ceramic installation with a robotic spider inspired by the ancient Chinese text *Shanhaijing*. Both artists were selected from a shortlist of six, all born after the 1980s and '90s.
The Detroit Institute of Arts (DIA) has reinstalled its African American galleries, moving them from the back of the museum to a prominent location beside Diego Rivera's iconic "Detroit Industry Murals" (1932–33). The reinstallation is framed by a quote from Alain Locke's 1925 essay "The Legacy of the Ancestral Arts," envisioning the museum as an instrument of cultural education and repair. Complementing this is "Contemporary Anishinaabe Art: A Continuation" (through April 5), the first comprehensive survey of art from the Indigenous inhabitants of the Great Lakes region. The DIA began collecting African American art in 1943 and in 2001 became the first US museum to name a curator devoted to that field, Valerie J. Mercer, who still serves as curator and head of African American art.
Sotheby's is projecting $7.0 billion in consolidated 2025 sales, a 17% increase over the previous year and the strongest result in the company's history. Auction sales rose 26% to $5.7 billion, driven by high-quality consignments including the Leonard A. Lauder Collection and a $236.4 million Klimt painting. Luxury sales climbed 22% to $2.7 billion, while RM Sotheby's surpassed $1 billion for the first time. The opening of Sotheby's new global headquarters at the Breuer Building was a commercial centerpiece, generating $1.17 billion in its inaugural week. The company also expanded rapidly in the Middle East, staging the first international auction in Saudi Arabia and launching Collectors' Week in Abu Dhabi.