Bettina Pousttchi Recasts Steel Barriers as Poetic Sculptures at Rockefeller Center

German artist Bettina Pousttchi has unveiled a monumental steel sculpture titled "Vertical Highways V03" at New York’s Rockefeller Center. Crafted from repurposed roadway guardrails that have been bent and colored, the vertical installation stands in dialogue with the surrounding Art Deco architecture. The work, which has previously been exhibited in Paris, Berlin, and Istanbul, will remain on public display in Midtown Manhattan through April 17, 2026.

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The gallery Anthony Meier in San Francisco is hosting "Barbara Stauffacher Solomon: Garden = Grid = City," the first exhibition of the late artist’s work since her estate began being co-represented by the gallery and von Bartha. The show highlights Solomon’s diverse eight-decade career, moving beyond her famous "supergraphics" to showcase rarely seen paintings and drawings from the 1980s that explore the intersection of city grids and landscape architecture.

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Praise Shadows Art Gallery, a respected contemporary art gallery, is relocating from Brookline to a 2,000-square-foot downtown Boston storefront in the Leather District. The move was facilitated by Boston Mayor Michelle Wu and the city's Space for Creative Enterprise Downtown initiative, which helped founder Yng-Ru Chen secure a 10-year lease. The gallery opens on March 13 with a group show titled "Summoning" and has a slate of solo shows planned for Boston-based artists in 2026.

10 Power Players in Paris

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The inaugural edition of Paris+ by Art Basel has opened in Paris, marking a significant shift in the city's art fair landscape. The article profiles ten key figures instrumental in shaping the French art market, including fair director Clément Delépine, dealer and committee president Marion Papillon, and institutional leaders like Suzanne Pagé of the Fondation Louis Vuitton and Rebecca Lamarche-Vadel of Lafayette Anticipations.

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Ai Weiwei has recreated Claude Monet's monumental triptych "Water Lilies" (1914–26) using 650,000 Lego bricks in 22 colors, spanning nearly 50 feet. The work, titled "Water Lilies #1" (2022), is now on display at the Design Museum in London ahead of a major survey exhibition opening April 7. Ai added a personal touch by inserting a "dark portal" referencing the underground dugout he shared with his father during his family's exile to Xinjiang in the 1960s. The show also includes "Untitled (Lego Incident)", a work made from Lego bricks sent by fans after Ai's Instagram post about Lego temporarily restricting his bulk orders for political artworks.

nicolas partys new miniature paintings are a hit will they reset his struggling auction market 2737867

Nicolas Party's exhibition "Dead Fish" at Karma gallery in Chelsea, New York, features approximately 40 postcard-sized oil-on-copper works and a mural of three dead fish, a departure from his usual large-scale pastel paintings. Only 10 of the works were for sale, priced between $165,000 and $205,000, and all sold quickly. The show includes replicas of his earlier compositions, described as a "retrospective in miniature," with many pieces drawn from his archive and not available for purchase.

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The Frick Collection reopens to the public on April 17 after a five-year closure and a $220 million expansion and renovation by Selldorf Architects. The project adds 18,000 square feet, including 10 new galleries in the family's original second-floor living quarters, a marble staircase, cafe, gift shop, and a new auditorium. The percentage of the collection on view has increased from 25% to 47%, and Ukrainian artist Vladimir Kanevsky has created porcelain floral arrangements for the reopening. New director Axel Rüger, who joined from London's Royal Academy of Arts, welcomed journalists at a press preview.

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The article examines the posthumous market resurgence of painter Robert Colescott, who died in 2009. After his commercial profile faded, Los Angeles dealer Tim Blum and his gallery Blum & Poe began working with the artist's estate in 2017, staging five solo shows and rescuing a disorganized estate with works stored in shipping containers in Arizona. Major auction prices followed, including a record $15.3 million for 'George Washington Carver Crossing The Delaware' in 2021. In 2024, after Blum & Poe closed, Gladstone Gallery took over representation. A current exhibition at the Tacoma Art Museum, 'The One-Two Punch: 100 Years of Robert Colescott,' runs through March 29.

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The article explores the challenge of articulating olfactory experiences in art, focusing on Norwegian artist Sissel Tolaas, who has dedicated her career to scent as a medium. Tolaas has collected over 15,000 smell molecules for her SMELL RE_searchLab in Berlin and invented a language called NASALO to describe scents more precisely. The piece also highlights the Kunstpalast Düsseldorf's exhibition "The Secret Power of Scents," which integrates smell into its permanent collection display, and references historical and contemporary artists like Ernesto Neto, Mike Kelley, and Oswaldo Maciá who have used scent in their work.

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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).

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Artnet News recaps the defining trends of 2025 in the art world, highlighting five key stories. These include the resurgence of elaborate frames in contemporary art ("Bordercore"), the rise of "red-chip art" favored by a new breed of flashy collectors, a "para-pastoral" movement that twists idyllic rural scenes into unsettling visions, and the growing popularity of small-scale paintings driven by intimacy and market shifts.

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Artnet News highlights the top photography moments of 2025, including Sara Cwynar's exhibition of search-engine images at ICA Boston, Inuuteq Storch's debut at MoMA PS1 showcasing his Greenlandic hometown, and Dietemar Busse's Polaroid portraits celebrated at Amant, New York. The year also saw Wolfgang Tillmans' blockbuster farewell exhibition at the Centre Pompidou before its five-year renovation, and Marian Goodman Gallery's inaugural show of Ana Mendieta's work, "Back to the Source," featuring her iconic photographs and performances. Mendieta's work was also spotlighted at Art Basel Miami Beach, with her piece "Sandwoman" (1983) drawing emotional responses from visitors.

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On January 7, 2025, the Palisades and Eaton Fires erupted in Los Angeles, fueled by drought and Santa Ana winds exceeding 90 mph, destroying over 12,000 structures. The fires devastated Pacific Palisades and Altadena, including the homes and studios of numerous artists, collectors, and art professionals. The Getty Center and Getty Villa were under evacuation but remained safe. Artist Paul McCarthy lost three family homes and his son's editing studio, while many others like Christina Quarles, Analia Saban, and Ruby Neri also suffered losses.

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A deadly fire in Hong Kong's Tai Po district, which killed at least 159 people and left 31 missing, has sparked an online battle over the role of bamboo scaffolding in the blaze. Photographer Elaine Li and other artists, architects, and cultural historians are defending the centuries-old craft against early news reports that implicated it, fearing it may be unfairly blamed and regulated out of existence. Officials have ordered all scaffolding mesh removed and arrested 21 people on suspicion of manslaughter, but the conversation has grown into a broader fight to protect a cultural symbol of Hong Kong's identity.

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In September 1945, exiled Surrealist painter Leonora Carrington completed her masterpiece *Les Distractions de Dagobert* (also known as *The Pleasures of Dagobert*), a densely layered canvas teeming with mythical figures, ritual fires, and medieval references. The painting, loosely inspired by the 7th-century Merovingian king Dagobert, depicts the monarch in a red robe on a cow-headed cart surrounded by enigmatic scenes. After a fierce 10-minute bidding war at Sotheby’s New York in May 2024, the work sold for $28.5 million to Argentine collector Eduardo F. Costantini, shattering Carrington’s previous auction record of $3.3 million. The painting is now on view at the Philadelphia Museum of Art as part of the exhibition “Dreamworld: Surrealism at 100,” the show’s only North American stop.

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Ballroom Marfa in Marfa, Texas, presents the exhibition “Los Encuentros,” on view through March 29, 2026, featuring five Latinx artists—Ozzie Juarez, Justin Favela, Antonio Lechuga, Narsiso Martinez, and Yvette Mayorga—who transform everyday materials like blankets (cobijas) and piñatas into works exploring Latinx identity. Curated by Maggie Adler, the show prioritizes local community engagement over the international art world, with works such as Juarez's "Coatzomaki" (2025) synthesizing LA street art and Aztec culture. The exhibition grew from Adler's existing relationships with the artists and her belief in working beyond institutional walls.

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The article describes a weekend stay at the Hotel Cipriani, a Belmond hotel in Venice, highlighting its role as a luxurious oasis amid the city's cultural offerings. It details visits to the Peggy Guggenheim Collection, including the exhibition "Manu-Facture: The Ceramics of Lucio Fontana," and the Gallerie dell'Accademia, while focusing on the hotel's upcoming redesign by architect Peter Marino, set to debut in 2025 with new suites and a lobby. The hotel's art program, including past collaborations like Daniel Buren's pavilion and future activations tied to the 2026 Venice Biennale, is also emphasized.

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The article explores how ancient Egyptian art and design have influenced modern Western aesthetics, from Empire furniture to Art Deco. It traces the phenomenon of 'Egyptomania' back to the 19th century, when European artists and archaeologists like Dominique Vivant Denon, Jean-Léon Gérôme, and Howard Carter brought Egyptian motifs and artifacts to public attention. The piece highlights three key examples: the adoption of Egyptian-inspired Empire furniture under Napoleon, the use of Nubian tribute scenes in decorative arts, and the impact of King Tutankhamun's tomb discovery on early 20th-century design.

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Blanche Lazzell (1878–1956), a pioneering American Modernist artist and printmaker largely forgotten today, is featured in the exhibition “Herself: American Artists of the 20th Century” at New York’s Lincoln Glenn Gallery. The show brings together 30 women artists spanning roughly 90 years, including Alice Neel, Grace Hartigan, Barbara Kruger, Sheila Hicks, and March Avery. Lazzell, who earned her fine arts degree at West Virginia University in 1905, studied at the Art Students League alongside Georgia O’Keeffe, traveled to Paris, and cofounded the Provincetown Printers, the nation’s first woodblock print society. She is credited with developing the white-line woodcut technique known as the Provincetown Print, and her work is held by major institutions including the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and the Smithsonian American Art Museum.

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Artnet News published its quarterly analysis of the most exhibited living artists at over 250 U.S. museums in March 2025, identifying more than 3,700 artists. The top artist is photographer Cara Romero, who appears in multiple museum shows including a major retrospective at the Hood Museum at Dartmouth College. Three of the six most featured artists have Native American backgrounds, reflecting a surge in exhibitions celebrating Indigenous art. The list excludes the late Jaune Quick-to-See Smith, a Native painter and curator who died in January 2025 at age 85 and would have ranked highly.

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Maurice Mielcarek, a 43-year-old Zurich-based collector, exemplifies a new generation of younger art buyers who prioritize lasting engagement over speculation. At Zurich Art Weekend, he introduced friends to New York artist Travis Boyer, whose velvet paintings Mielcarek has collected for two years. This cohort, mostly in their 30s and 40s, takes a slower, research-driven approach to collecting, often building relationships with artists and galleries before purchasing. They focus on discovery, conceptual works, and supporting artists' visions beyond mere acquisition.

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The Museum of Modern Art in Paris has opened "Matisse and Marguerite: Through Her Father's Eyes," an exhibition running through August 24 that explores the lifelong bond between Henri Matisse and his eldest daughter, Marguerite Duthuit-Matisse. Featuring over 100 works—including paintings, drawings, prints, sculptures, and ceramics—the show traces their relationship from her childhood through World War II, with many pieces rarely exhibited before. Loans come from institutions in the United States, Switzerland, and Japan, supplemented by photographs and archival materials.

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Artist Do Ho Suh presents his first solo exhibition at London's Tate Modern in two decades, titled "The Genesis Exhibition: Do Ho Suh: Walk the House." The show features his signature translucent fabric architectural sculptures, including the newly created installation "Nest/s" (2024), a collection of 1:1 scale replicas of spaces where Suh has lived and worked across Seoul, New York, London, and Berlin. The exhibition explores themes of home, memory, and migration, drawing from Suh's own experiences moving from Seoul to New York and later London.

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Crystal Bridges Museum of American Art in Bentonville, Arkansas, has acquired a monumental Tiffany stained-glass window titled "Mountain Landscape (Root Memorial Window)," created by Tiffany Studios in 1917 and designed by Agnes Northrup. The 9-foot-tall, 8-foot-wide window, which depicts a cascading waterfall and mountains, was previously installed for 94 years at the Sunset Ridge Church and Collective in San Antonio, Texas. It is only the second Tiffany work in the museum's collection, joining a wisteria lamp donated in 2022.

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MoMA has opened "Woven Histories: Textiles and Modern Abstraction," a touring survey that examines the role of textiles in modern and contemporary art. The exhibition features works by artists such as Sonia Delaunay, Paul Klee, Agnes Martin, Jeffrey Gibson, and Anni Albers, and incorporates other mediums like video and photography. Curator Lynne Cooke notes that the show has evolved at each venue, and at MoMA it holds special significance because the museum was foundational in writing the history of Modernism and collected textiles from its early days.

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Michelle Grabner, a Milwaukee-based artist known for examining overlooked visual languages, has created a new series of porcelain sculptures at the Kohler Company's MakerSpace in Wisconsin. These works, which mimic janitorial supplies like sponges, sinks, and mop carts, are being shown at the Independent art fair this week with Cleveland's Abattoir Gallery. Grabner, who co-curated the 2014 Whitney Biennial and served as the inaugural artistic director of FRONT International, continues to expand her practice beyond painting into industrial materials, while also holding two concurrent museum retrospectives: "Underdone Potato" at the Schneider Museum of Art and "Under the Sink" at the Haggerty Museum.

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The Frick Collection has reopened after a $220 million, five-year renovation, featuring a new installation called "Porcelain Garden" by Ukrainian-born artist Vladimir Kanevsky. The display includes over 30 handcrafted porcelain floral pieces, such as a lemon tree, lilies of the valley, and a wild artichoke, placed alongside masterpieces by Vermeer, Rembrandt, Goya, and Bellini. Kanevsky, a 74-year-old Jewish-Ukrainian émigré who moved to New York in 1989, originally trained as an architect and turned to porcelain as a side project, which unexpectedly became his career. All the flowers at the Frick have been sold, with prices ranging from $5,000 to $500,000, though his secondary market remains minimal.

What Is a "Post-Duchamp" Art World?

Scholar Thierry de Duve discusses the legacy of Marcel Duchamp in conjunction with a new exhibition at the Museum of Modern Art (MoMA) featuring seven of the artist’s “boîtes-en-valise.” These portable miniature museums, created decades before Duchamp’s first formal retrospective, are framed as evidence of his genius in anticipating the institutional logic of the modern museum. The conversation explores how Duchamp’s provocative works, such as the readymade "Fountain," fundamentally altered the trajectory of art history and defined the "post-Duchamp" era.

‘They accomplished so much, even as they were dying’: the groundbreaking gay art of Peter Hujar and Paul Thek

Author and Frieze Magazine editor-in-chief Andrew Durbin has released a dual biography titled 'The Wonderful World That Almost Was,' chronicling the lives and creative partnership of Peter Hujar and Paul Thek. The book focuses on their relationship from the mid-1950s through the 1970s, detailing their collaborative influence and the development of their respective practices in photography and sculpture before both died of AIDS-related complications in the late 1980s.

The Robots Were Never the Problem

The New Museum has reopened with 'New Humans: Memories of the Future,' a massive survey featuring over 150 contributors including Hito Steyerl, Precious Okoyomon, and H.R. Giger. Spanning 13 sections across the museum's new 5,500 square-meter extension, the exhibition traces the intersection of art, technology, and the human body from the early 20th century to the present. It juxtaposes interwar European works, such as Hannah Höch’s photomontages and Bauhaus ballets, with contemporary installations like Simon Denny’s sculpture of an Amazon worker's cage.