‘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.

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.

Frieze’s Christine Messineo Takes a Tour of Chelsea

Andrew Durbin reviews national pavilions at the Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The review highlights the disparity in thematic depth and emotional resonance among the three pavilions.

Seba Calfuqueo and the Colonized Body

Andrew Durbin reviews national pavilions at the 2026 Venice Biennale, critiquing the US presentation as vacuous while praising incisive and moving installations from Britain and Germany. The review highlights Seba Calfuqueo's work in the context of colonized bodies, though the article's main focus is on the comparative quality of the pavilions.

Arsenale Review: Where Voices Resist Erasure

At the 2026 Venice Biennale's Arsenale, critic Andrew Durbin reviews national pavilions, finding the US presentation vacuous and lacking meaning, while praising the British and German pavilions for their incisive and moving installations that resist erasure. The review highlights a stark contrast in curatorial ambition and political engagement among the participating nations.

‘In Minor Keys’ Review: Its Best Moments Live in the Institutions Koyo Kouoh Built

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 highlights how the best moments of the exhibition live in the institutions built by curator Koyo Kouoh, who organized the Biennale's main exhibition.

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.

Venice Biennale Diary: An Editor on the Ground

Andrew Durbin reviews national pavilions at the Venice Biennale, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The article is part of Frieze's Critic's Guides series, published on May 6, 2026.

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.

‘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.

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.

Seven Shows to Catch Across the US This May

Art critic Andrew Durbin reviews national pavilion presentations at the Venice Biennale, contrasting a vacuous US exhibition with incisive and moving installations from Britain and Germany. The review highlights the disparity in thematic depth and emotional resonance among the three pavilions.

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.

Ayotunde Ojo Maps Interiority Under the Public Gaze

The article, a critic's guide review by Andrew Durbin, contrasts the US national pavilion presentation at an unspecified biennial with those of Britain and Germany. The US presentation is described as vacuous and lacking in meaning, while the British and German installations are praised for being incisive and moving. The review critically examines the thematic and conceptual approaches of each national pavilion, highlighting a disparity in artistic depth and engagement.

National Pavilions Review: Porta-Potties, Porn and a Defiant Rave

Frieze critic Andrew Durbin reviews national pavilions at an unnamed biennial, contrasting a vacuous US presentation with incisive and moving installations from Britain and Germany. The US pavilion is criticized for lacking meaning, while the British and German pavilions feature incisive and moving works, including a defiant rave and provocative content like porta-potties and porn.

National Pavilions Review: Who’s Afraid of Meaning?

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

Sung Tieu and the Art of Difficulty

Sung Tieu, a Vietnamese-born German artist, is the subject of a critical feature in Frieze that examines her work's engagement with difficulty—both in terms of the complex political and historical themes she tackles and the challenging formal qualities of her installations. The article highlights her recent projects, including works shown at the Venice Biennale, which address issues of surveillance, migration, and Cold War legacies through meticulous research and unconventional materials.

Gabrielle Goliath Sounds a Call to Action in Venice

Gabrielle Goliath’s exhibition "Elegy" is presented as South Africa’s unofficial pavilion at the 61st Venice Biennale, after the country’s Culture Minister Gayton McKenzie overrode an independent committee’s selection of Goliath, citing her proposed inclusion of a memorial for Palestinians killed in Gaza. The installation features three video works in which singers sound a single note in tribute to victims of violence: a South African femicide victim, two women killed in Germany’s colonial genocide in Namibia, and Palestinian poet Heba Abunada. The show occupies the Chiesa di Sant'Antonin in Venice, curated with Ingrid Masondo, after a legal challenge against McKenzie was dismissed.

'ART FROM WAR TO WAR: CHASING BUTTERFLIES OVER THE VERGE OF A CLIFF' at Beck & Eggeling International Fine Art, Düsseldorf, Germany on 28 May–15 Aug 2026

An exhibition titled 'ART FROM WAR TO WAR: CHASING BUTTERFLIES OVER THE VERGE OF A CLIFF' is on view at Beck & Eggeling International Fine Art in Düsseldorf, Germany, from 28 May to 15 August 2026. Curated by Antonio Geusa and Kay Heymer, the show features selected works from the Valeria Rodnianski collection, spanning artists from Germany and the Soviet/post-Soviet space. It is structured around two historical turning points—the construction of the Berlin Wall in 1961 and Russia's full-scale invasion of Ukraine in 2022—and organized into three thematic sections: Topos, Anthropos, and Logos, exploring place, human experience, and language.

Painting LACMA's David Geffen Galleries with Light, Shadow, and Color

LACMA's new David Geffen Galleries, designed by architect Peter Zumthor, feature custom-tinted concrete walls that break from traditional museum aesthetics. The walls are coated with a transparent, nano-scale mineral glaze developed by Zumthor and Swiss craftsman Marius Fontana, manufactured by German company Keim. The palette—dusky red, vibrant blue, and nuanced black—was inspired by ancient Indigenous American pigments prepared by artist Porfirio Gutiérrez for the museum's exhibition "We Live in Painting: The Nature of Color in Mesoamerican Art." Diana Magaloni, LACMA's Senior Deputy Director for Conservation, Curatorial and Exhibitions, led the conceptualization and application of the glazes, which are designed to enhance the building's interplay of light and shadow without obscuring its raw concrete surfaces.

뉴뮤지엄 DEMO2026 Art, Design, and Technology Festival(6/3-5) - Lounge

NEW INC, the New Museum's cultural incubator, has announced the full schedule for DEMO2026, a three-day art, design, and technology festival running from June 3–5 at the New Museum's newly expanded OMA-designed building on the Bowery. The festival features keynote speakers including multimedia artist Lawrence Lek, cultural historian Dr. Sarah Elizabeth Lewis, artist and Ojas sound system founder Devon Turnbull, NTS Radio founder Femi Adeyemi, and artist-engineer Xin Liu. Public programming includes demonstrations, performances, workshops, and talks showcasing projects by 39 current NEW INC members, with a Track Showcase on view through June 10. This marks the first edition of DEMO held in the New Museum's expanded space since its reopening.

First-of-its-kind MCA exhibition plays the beat of Caribbean activism

Carla Acevedo-Yates has curated "Dancing the Revolution: From Dancehall to Reggaetón," a major exhibition at the Museum of Contemporary Art Chicago, which will be her final show before departing for a role on the Documenta 16 team in Germany. The exhibition, which occupies the museum's entire fourth floor through September 20, features over 40 artists and explores the social and political histories of Caribbean music genres.

Who Owns These Artworks? Musée d’Orsay Hopes Visitors Can Help Find Out.

The Musée d’Orsay in Paris has opened a new room in its permanent display featuring 13 artworks recovered from Germany and Austria after World War II, whose provenance remains unknown. The museum is inviting visitors to help identify the original owners of these pieces, which were looted or displaced during the war and later restituted to France.

Winfred Gaul | May (1969) | For Sale

A screenprint titled "May (1969)" by German Abstract artist Winfred Gaul is being offered for sale through RoGallery Auctions on Artsy. The work, edition 6/100, was originally featured as the image for May in the 1969 Domberger calendar, which included screenprints by 12 prominent artists. The print is signed and numbered in pencil, with an estimated value of $600–$900 and a starting bid of $250. The listing includes a biography of Gaul, noting his studies at the University of Cologne and the Academy of Fine Arts in Stuttgart, his first solo exhibition in 1956 at Gurlitt Gallery in Munich, and his participation in Documenta 2 in 1959. His work is held in major museum collections including MoMA, the National Gallery of Art, and the Art Institute of Chicago.

Story of Max Peiffer Watenphul, the Bauhaus painter who found his new homeland in Italy

Storia di Max Peiffer Watenphul, il pittore del Bauhaus che trovò in Italia la sua nuova patria

A major retrospective titled "Max Peiffer Watenphul. Pittore del Bauhaus" has opened at the Galleria Nazionale d'Arte Moderna e Contemporanea (GNAMC) in Rome, curated by Gregor H. Lersch, director of the Museo Casa di Goethe. The exhibition explores the complex artistic journey of Max Peiffer Watenphul (1896–1976), a German Bauhaus-trained painter who found a second home in Italy. It highlights his multidisciplinary approach, his troubled painting style marked by unusual materials and scratched surfaces, and his deep connection to Italy, where he fled after Nazi persecution and where he lived until his death.

The 2026 Venice Biennale is light and conscious

Quella del 2026 è una Biennale di Venezia leggera e consapevole

The 2026 Venice Biennale, titled "In Minor Keys" and curated by the late Koyo Kouoh, has opened with a focus on ecology and humanity's relationship with nature. The central pavilion at the Giardini presents a festive, craft-heavy exhibition that emphasizes connections with plants and animals, while the Arsenale offers a more spacious, symphonic experience featuring standout works such as Alfredo Jaar's "End of the World" (2023-2024) and Kader Attia's "Whisper of Traces" (2026). National pavilions, including those of Austria, Denmark, France, Germany, and Spain, explore themes of the body, memory, and ruin with notable installations.

Un’importante collezione tedesca d’arte per la prima volta in mostra in Italia a Venezia

The Kelterborn Collection, a German private collection focused on video art and experimental installations, will be exhibited in Italy for the first time at Venice's Contemporary Forces platform from May 7 to September 27, 2026. The exhibition, titled "Who’s a good boy??," is curated by Anastasia Stravinsky and Mario von Kelterborn in collaboration with IKT – International Association of Curators of Contemporary Art, and features works by twelve artists including Joseph Beuys, Gary Hill, Laure Prouvost, and Ulay. The show aligns with the theme of the 61st Venice Biennale, exploring power "in minor keys."

100 anni fa nasceva Nuvolo. Ecco chi era l’artista partigiano che firmava col nome di battaglia

Giorgio Ascani, known by his partisan nickname Nuvolo, was born 100 years ago in Città di Castello, Italy. He adopted the name during the Resistance at age 17, inspired by his ability to appear and disappear like a cloud. Nuvolo became a painter and taught at the Accademia di Belle Arti di Perugia, serving as director from 1979 to 1984. His works are held in museums and collections worldwide. In 2025, a major exhibition curated by Bruno Corà, Aldo Iori, and Paolo Ascani was held at Palazzo Collicola in Spoleto, and in 2018, New York's Galleria Di Donna mounted a retrospective curated by Germano Celant. Now, the fair AMAB in Assisi joins centenary celebrations with 15 works spanning his career, including pieces from the Genesi cycle, Serotipie, and OIGROIG series.

Florence welcomes the great artist Georg Baselitz with a major exhibition at the Museo Novecento

Firenze accoglie il grande artista Georg Baselitz con una grande mostra al Museo Novecento

The Museo Novecento in Florence has opened "Avanti!", a major retrospective dedicated to German artist Georg Baselitz, featuring 170 works on paper spanning his career from the 1960s to the present. Curated by Sergio Risaliti and Daniel Blau, the exhibition is the first in Italy to focus on Baselitz's graphic output, including woodcuts, linocuts, and etchings, alongside sculptures and installations that explore themes of the human body, war, and inversion.

Lin May Saeed at Kunsthalle Bern

German Iraqi artist Lin May Saeed (1973–2023) is the subject of a posthumous exhibition at Kunsthalle Bern. The show presents her drawings and sculptures, which critically examine the relationship between humans and animals, positioning non-human creatures as active protagonists rather than symbols or decorative elements.