German artist Anne Imhof will present her first solo exhibition in Asia at the Tai Kwun culture complex in Hong Kong from September 26, 2025, to January 3, 2027. The ambitious show will feature a survey of key works and a new commission, converging performance, image, sound, and architecture to create immersive encounters.
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Tate Modern has announced a major exhibition for 2026 titled "Frida Kahlo: The Making of an Icon," featuring over 130 artworks and archival materials. The exhibition aims to explore the cult-like following surrounding the Mexican artist and how her personal biography became inseparable from her creative legacy. This announcement follows a series of global institutional efforts to deconstruct the Kahlo myth, including recent shows at the Art Institute of Chicago and the Dallas Museum of Art.
The 2026 Whitney Biennial marks a shift in contemporary art from literal messaging toward atmospheric 'mood.' This edition is characterized by an immersive aural landscape of drones and whispers, moving away from the overt identity politics of previous years in favor of a 'sincerity first' credo. Key works include Emilie Louise Gosslaux’s emotional tribute to her guide dog, Mo Costello’s community-focused binders, and Nour Mobarak’s intimate recordings of internal bodily sounds.
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The 17th-century Flemish Baroque painter Michaelina Wautier is experiencing a significant rediscovery following centuries of obscurity and misattribution. Long overshadowed by her male contemporaries and her brother Charles, Wautier's diverse oeuvre—ranging from still lifes to monumental allegorical scenes—is being re-evaluated through major exhibitions at the Kunsthistorisches Museum in Vienna and the Royal Academy of Arts in London. This scholarly revival is correcting the historical record, as works previously attributed to artists like Artemisia Gentileschi are being rightfully returned to her catalog.
An artist known as Sunday Nobody has created a new work consisting of a bag of Flamin' Hot Cheetos encased in resin and suspended inside a 3,000-pound concrete sarcophagus, which he has buried outside Seattle with instructions for it to be opened in 10,000 years. The 28-year-old motion graphics designer, who maintains anonymity, funds his complex, labor-intensive projects through his day job and documents their creation in viral social media videos.
Saudi Arabia's Royal Commission for AlUla (RCU) and the Centre Pompidou have revealed new details about the planned AlUla Contemporary Art Museum, designed by architect Lina Ghotmeh. The announcement was made at the opening of the "Arduna" exhibition, a collaborative preview show featuring over 80 works by regional and international artists.
Newly released documents from the Department of Justice, part of the Jeffrey Epstein case, contain email exchanges from 2013 that reference prominent art collectors Steve Tisch and Jean Pigozzi. The emails show Epstein facilitating introductions between Tisch and multiple women, with discussions about their backgrounds and travel arrangements. Tisch has stated the association was brief and expressed regret.
The Pennsylvania Academy of the Fine Arts (PAFA) has appointed Kristen Shepherd as its new president and CEO, effective February 9. Shepherd, 54, previously served as executive director and CEO of the Museum of Fine Arts in St. Petersburg, Florida, and held leadership roles at the Los Angeles County Museum of Art, the Whitney Museum in New York, and Sotheby’s in New York and London. She also runs her own consulting firm, Shepherd Lane + Associates. Shepherd takes over at a challenging time for PAFA, which closed its college last May due to rising costs and low enrollment, though it continues to offer K-12 and continuing education programs.
The Arkansas Museum of Art in Little Rock is presenting "Architects of Being," an exhibition pairing the work of Esphyr Slobodkina and Louise Nevelson through January 11, 2026. Slobodkina, a Russian-born Jewish immigrant and founding member of the American Abstract Artists, was a painter, sculptor, writer, and fashion designer who also authored the classic children's book *Caps for Sale*. Nevelson, also an Eastern European Jewish immigrant, is renowned for her monochromatic wood assemblages. The show juxtaposes their geometric abstractions, collages, sculptures, and personal fashion, curated as a hypothetical dialogue between two kindred spirits who never met. The exhibition will travel to the Chrysler Museum of Art in Norfolk, Virginia, and the New Britain Museum of American Art.
Artnet News published a French-language glossary of Old Masters terminology and a list of French museums dedicated to Old Masters. The article defines an Old Master as a European painter who worked before 1800, then provides an A–Z bilingual glossary covering terms from Baroque to Venetian Renaissance. It also profiles two museums: the Musée du Louvre in Paris, highlighting its history, collection size, and a wartime anecdote about Théodore Géricault's "Le Radeau de la Méduse," and the Musée du Louvre-Lens, a branch museum opened in 2012 on a former mining site.
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.
David Zwirner Books has released a new monograph titled *William Eggleston: The Last Dyes* (2025), dedicated to the final major body of photographs by pioneering American color photographer William Eggleston using the now-discontinued dye-transfer printing process. A solo exhibition of these images will open at David Zwirner gallery in New York on January 15, 2026, following a presentation at the gallery’s Los Angeles location earlier this year. The book includes a newly commissioned essay by critic Jeffrey Kastner.
Barbara Dauphin Duthuit, the wife of Henri Matisse's grandson, has donated 61 works by Matisse to the Musée d’Art Moderne de Paris. The gift includes seven paintings, numerous drawings, etchings, lithographs, and illustrated books, most of which feature portraits of the artist's eldest daughter, Marguerite (1894–1982). Many of these works were on view in France for the first time during the museum's recent exhibition “Matisse and Marguerite: Through Her Father’s Eyes.” The donation spans from Marguerite's childhood to 1945, including pieces that reference her convalescence from diphtheria and her survival of Gestapo torture during World War II.
A week after wildfires erupted across Los Angeles, the city remains under critical threat as the Pacific Palisades, Eaton, Hollywood Hills, and San Fernando Valley fires have forced the evacuation of roughly 200,000 residents, destroyed about 12,000 buildings, and claimed at least 24 lives. Among the losses are culturally and architecturally significant structures, including the Bunny Museum in Altadena, the historic Will Rogers ranch, the Altadena Community Church (designed by Harry L. Pierce), the Andrew McNally House (a Queen Anne-style mansion by Frederick Roehrig), Richard Neutra's Benedict and Nancy Freedman House, and Gregory Ain's Park Planned Homes in Altadena. Adrian Scott Fine of the Los Angeles Conservancy described the destruction as "a mass erasure of heritage."
Wafaa Bilal has been named the recipient of the 2025 ARTnews Award for Established Artist, recognizing his survey exhibition “Wafaa Bilal: Indulge Me” at the Museum of Contemporary Art, Chicago (February 1–October 19, 2025). The show is the first major retrospective for the Iraqi American artist, featuring works that put his body at risk, including the iconic performance *Domestic Tension* (2007), in which remote participants fired a paintball gun at him over the internet, and *Virtual Jihadi* (2008), a modified video game that blurs the lines between aggressor and victim. Curated by Bana Kattan, the exhibition restages elements of Bilal’s original performance and presents his ongoing critique of U.S. involvement in the Middle East, particularly the Iraq War and the use of drone warfare.
The Phillips Collection in Washington, D.C., is proceeding with plans to auction major works by Georgia O'Keeffe, Arthur Dove, and Georges Seurat at Sotheby's on November 20, despite sharp backlash from former curators, members of the Phillips family, and the museum's non-governing members body. The works—including O'Keeffe's *Large Dark Red Leaves on White* (estimate $6–8 million), Seurat's conté crayon drawing ($3–5 million), and Dove's *Rose and Locust Stump* ($1.2–1.8 million)—are considered central to founder Duncan Phillips's vision. Director and CEO Jonathan Binstock argues the proceeds will fund a permanently restricted endowment for commissioning new work by living artists, acquisitions, and collection care, aligning with Duncan Phillips's belief in supporting contemporary practitioners.
A four-panel suite of paintings by Norman Rockwell, titled *So You Want to See The President!* (1943), sold for $7.2 million at Heritage Auctions on November 14. The work, which hung in the White House for decades, was bought by the White House Historical Association, marking its most expensive acquisition to date. The sale followed a bitter ownership dispute among descendants of the original commissioner, President Franklin D. Roosevelt's press secretary Stephen T. Early, with a federal judge ruling in favor of the current owner, William Elam, in 2023.
Metallica guitarist Kirk Hammett is auctioning Frank Frazetta's painting *Conan the Berserker* (1967), which he purchased directly from the artist for $1 million in 2009. The work, originally used as cover art for a paperback edition of Robert E. Howard's novel *Conan the Conqueror*, will be offered in Heritage Auctions' “Hollywood/Entertainment Signature Auction” on December 9–10, with bidding starting at $10 million. The sale follows a record-breaking Frazetta auction in September, when his oil painting *Man Ape* (1966) sold for $13.5 million.
The Fondation Cartier pour l’art contemporain will reopen its new space at 2 Place du Palais-Royal in Paris on October 25, 2025, during Paris Art Week. Designed by architect Jean Nouvel, the building—originally constructed for the 1855 Exposition Universelle and later a hotel, department store, and antiques center—has been transformed with a modular system of five movable platforms, a glass canopy, and transparent ground-floor windows to create an open, flexible exhibition environment. The inaugural show, titled “Exposition Générale,” features nearly 600 works by over 100 artists from the foundation’s history.
Painter Amy Sherald has revealed in a "60 Minutes" interview with Anderson Cooper that she pulled out of her solo exhibition at the Smithsonian's National Portrait Gallery because the museum considered removing her painting of a Black transgender Statue of Liberty, titled "Trans Forming Liberty." Sherald stated that the Smithsonian secretary, Lonnie G. Bunch III, proposed replacing the painting with a video discussing trans issues that would include anti-trans views, which she deemed unacceptable censorship. The exhibition, "American Sublime," was originally organized by the San Francisco Museum of Modern Art and last shown at the Whitney Museum; it is now expected to open at the Baltimore Museum of Art on November 2.
Qatar has revealed that it is the owner of Gustave Courbet's famed self-portrait *Le Désespéré* (The Desperate Man, 1843–45), which has gone on view at the Musée d'Orsay in Paris for the first time in 17 years. The painting, previously listed as being on loan from an unknown private collector, was acquired by Qatar Museums, a state body that oversees the nation's art scene. Sheikha Al-Mayassa bint Hamad bin Khalifa Al Thani, head of Qatar Museums, acknowledged the ownership during a tribute at the Musée d'Orsay, noting that the work will be on long-term loan there for five years before moving to the future Art Mill Museum in Doha, set to open in 2030.
Issy Wood, a rising British artist known for her figurative paintings of luxury objects and body parts, created the cover for Vanity Fair's first art-themed issue in nearly two decades. The cover features a portrait of pop star Charli XCX titled *Charli 2* (2025), painted in oil on velvet with gauzy stars and white forms. Wood cited their shared Britishness and the singer's career longevity as inspiration, while the article draws parallels between Wood's subject matter and the 'Brat universe.'
Two leading museum organizations, CIMAM (International Committee for Museums and Collections of Modern Art) and L'internationale, have sharply criticized the Flemish government's decision to transfer the collection and mission of Antwerp's M HKA to a newly formed museum in Ghent by 2028. In a statement dated October 10, CIMAM's Museum Watch Committee expressed profound concern, calling the plan based on "false administrative logic" and urging the Flemish minister of culture to reverse the decision. L'internationale also published a statement condemning the lack of transparency and consultation, noting that the plan was announced without input from M HKA's leadership or stakeholders. The building housing M HKA will be renovated into a Kunsthalle, and the government has canceled a planned $151 million new building for the museum.
The Flemish government has announced a plan to close the Museum of Contemporary Art Antwerp (M HKA), Belgium's oldest contemporary art museum, and transfer its collection of around 8,000 objects to the S.M.A.K. in Ghent, which will be rebranded as the Flemish Museum of Contemporary and Current Art by 2028. The decision, part of a broader reform of Flanders' museum landscape, has sparked outrage: M HKA's board chairman Herman De Bode resigned, and staff published an open letter and launched a petition that gathered over 2,600 signatures, accusing the government of acting without transparency or consultation.
The Louvre in Paris is staging a major retrospective of Jacques-Louis David, featuring 100 works by the French Neoclassical painter, to mark the bicentenary of his death in 1825. The exhibition opens October 15 and runs through January, drawing on the Louvre's own collection and prestigious loans from institutions including the Royal Museums of Fine Arts of Belgium, the Metropolitan Museum of Art, and the Cleveland Museum of Art. Curator Sébastien Allard emphasizes that the show is not a conventional blockbuster but aims to explore under-examined aspects of David's practice, particularly his political engagement across the Ancien Régime, the French Revolution, and the Napoleonic Empire.
A René Magritte painting, *La Magie Noire* (1934), will be auctioned at Sotheby’s Paris on October 24 with a high estimate of €7 million ($8.1 million). The work has remained in the same private collection for nearly a century, having been acquired directly from the artist by the family of World War II resistance heroine Suzanne Spaak, who was executed by the Gestapo in 1944 for helping Jewish children escape Nazi persecution. The painting depicts Magritte’s wife, Georgette Berger, and is the first of ten portraits in which the female body merges with sky, stone, and spirit.
President Donald Trump had lunch with Lonnie G. Bunch III, secretary of the Smithsonian Institution, on Thursday, according to the New York Times. This meeting comes amid ongoing tensions between the Trump administration and the Smithsonian, including a White House list denouncing specific artworks—such as a painting of refugees at the US-Mexico border and Amy Sherald’s portrait of a Black trans woman as the Statue of Liberty—and an executive order claiming the institution has been influenced by “divisive, race-centered ideology.” Trump has also called for a legal review of Smithsonian displays, though his authority over the institution is unclear. The lunch was described as “productive and cordial” by a White House spokesperson, but no details of the discussion were released.
Amy Sherald's portrait of a Black transgender Statue of Liberty, titled *Trans Forming Liberty* (2024), has appeared on the cover of *The New Yorker* after the artist canceled a planned iteration of her traveling survey at the Smithsonian's National Portrait Gallery, alleging censorship. Sherald said museum leadership objected to the painting and proposed replacing it with a video discussion that would include anti-trans views. The work is currently on view at the Whitney Museum, where her survey 'American Sublime' runs through August 10. The Smithsonian later stated it sought to contextualize rather than replace the work, while the Trump administration praised the removal as a 'principled and necessary step' amid broader scrutiny of the institution's exhibitions.
The 13th Berlin Biennale opened amid controversy over its handling of the Gaza conflict. In a tense press conference, curator Zasha Colah faced questions about whether any invited artists had withdrawn in solidarity with the Strike Germany campaign, and whether she had experienced state repression for addressing the genocide in Gaza. Colah acknowledged one artist’s withdrawal but denied experiencing state repression, while the biennial’s title, “passing the fugitive on,” and its theme of “the fox” were criticized as evasive. The article describes the event as a case study in how German cultural institutions navigate political pressure and censorship.
A Japanese collector, Hiroaki Narita, is auctioning his extensive collection of Rei Kawakubo's designs for Comme des Garçons at the French auction house Piasa on October 1, during Paris Fashion Week. The sale includes over 500 lots of garments and accessories dating from 1969 to 1999, with estimates ranging from €150 to €2,000. The collection spans Kawakubo's most iconic collections, including Pirates (1981), Body Meets Dress, Dress Meets Body (1997), and Kaleidoscope (1996), showcasing her avant-garde, deconstructed aesthetic.