Fondazione Bvlgari Bets on the Venice Biennale: Beyond the Pavilion in the Giardini, an Exhibition at the Biblioteca Marciana

Fondazione Bvlgari scommette sulla Biennale di Venezia: oltre al padiglione ai Giardini, una mostra alla Biblioteca Marciana

Fondazione Bvlgari is making its debut at the Venice Biennale with a collateral exhibition at the Biblioteca Nazionale Marciana, featuring site-specific works by Monia Ben Hamouda and Lara Favaretto. The show runs from May 9 to November 22, 2025, alongside the 61st International Art Exhibition. Ben Hamouda presents 'Fragments of Fire Worship,' neon sculptures in the Vestibule that explore language and cultural heritage, while Favaretto installs the final edition of 'Momentary Monument – The Library' in the Salone Sansovino, inviting public consultation of donated books. Additionally, Bvlgari has a pavilion in the Giardini featuring Canadian artist Lotus L. Kang, as part of a three-edition partnership with the Biennale through 2030.

High school students to showcase 'Revolutionary Art' at Attleboro Arts Museum

Thirteen high schools from Massachusetts and Rhode Island are preparing installation artworks for the Attleboro Arts Museum's annual High Art exhibition, which runs May 12–18, 2026, under the theme 'Revolutionary Art.' Students from schools including Dedham High School, Hope High School in Providence, and Seekonk High School are creating pieces such as 'Americana' and 'Re-revolution,' with guidance from art instructors like Bridget O'Leary, Delsin Jean-Louis, and Elizabeth Machado-Cook.

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.

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.

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.

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.

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.

‘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.

Risk and Reward: Jason Price Gets Artists Business-Savvy

Jason Price, an artist and entrepreneur, is launching a new initiative called 'Risk and Reward' aimed at helping artists develop business acumen. The program offers workshops and resources on financial literacy, contract negotiation, and marketing strategies tailored specifically for visual artists. Price draws on his own experience navigating the art market to provide practical guidance, with the first sessions scheduled to take place in New York and Los Angeles.

‘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.

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.

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.

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.

‘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.

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.

Jerald Cooper’s Top Picks from Frieze New York 2026

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 article critiques the lack of meaning in the American pavilion while praising the depth and emotional resonance of the British and German contributions.

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.

Abbas Akhavan Refuses to Perform an Identity

The article is a critic's guide to the 2026 Venice Biennale, highlighting key installations and pavilions in the Arsenale and Giardini. It features works such as fierce pussy's posters welcoming LGBTQ+ visitors and Florentina Holzinger's water-themed Austrian Pavilion, among other notable presentations.

Behind the 2026 Venice Issue Cover

Frieze magazine has published a critic's guide to the 2026 Venice Biennale, highlighting key installations and pavilions to see in the Arsenale and Giardini. Notable entries include fierce pussy’s posters welcoming LGBTQ+ visitors to Venice and Florentina Holzinger’s water-themed Austrian Pavilion. The article is part of Frieze's coverage of the 2026 Venice Biennale, offering curated recommendations for attendees.

Nikita Kadan Questions Whether War Ever Ends

Ukrainian artist Nikita Kadan, in an interview with Frieze, reflects on his practice and the ongoing psychological and physical toll of war, questioning whether conflict ever truly ends. He discusses his recent works, which grapple with the persistent state of war in Ukraine, the transformation of urban spaces, and the collective trauma that outlasts active hostilities.

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.

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.

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.

The 10th Max Mara Art Prize for Women

第10回マックスマーラ・アート・プライズ・フォー・ウィメン

The 10th Max Mara Art Prize for Women has been awarded to Indonesian artist Dian Suci, marking the first time the prize has been held in Asia. Suci was selected from five finalists for her project "Crafting Spirit: Cultural Dialogues in Heritage and Practice," which examines the intersection of religious craftsmanship traditions and capitalist systems. The prize is organized in partnership with the Museum MACAN in Jakarta. Suci will undertake a six-month residency in Italy, followed by solo exhibitions in 2027 at both Museum MACAN and Collezione Maramotti in Reggio Emilia.

Next Episode of Art21’s Art in the Twenty-First Century to Premiere in June

Art21 has announced the premiere of "Human Nature," the next episode of its documentary series *Art in the Twenty-First Century*, set to air on PBS on June 10, 2026. The episode features artists Lenka Clayton, Josh Kline, Delcy Morelos, and Sin Wai Kin, and explores themes of humanity's impact on the environment, social and economic systems, and interpersonal relationships. Directed by Ian Forster and produced by Andrea Chung, the episode will also be available on Art21.org, YouTube, and PBS Digital Platforms, with an advance screening on May 28 at the SAG-AFTRA Foundation Robin Williams Center in Manhattan.

Director’s Notes with Adam Golfer | “Camille Henrot: In Movement”

Adam Golfer, the director of the short film "Camille Henrot: In Movement," reflects on the process of creating the documentary. He describes following the artist Camille Henrot over a full year in New York and Paris, capturing her wide-ranging creative process from sketches to paintings, model-making to large-scale sculptures, and the evolution of her film work.

Open Call for Artists: Gallery A3’s 11th Annual Juried Show

Gallery A3 in Amherst, Massachusetts, has announced an open call for its 11th Annual Juried Show, scheduled for August 6–29, 2026. Submissions will be accepted online from May 10 to June 7, 2026, with an entry fee of $38 for three entries. The theme for this year's show is 'Everyday Sublime,' inviting artists to explore how awe and wonder manifest in daily life. The juror is Andrew S. Yang, a professor at the School of the Art Institute Chicago whose work has been exhibited internationally, including at the 14th Istanbul Biennial and the Museum of Contemporary Art Chicago.

This illustrator is the best Nova Scotian folk artist you’ve never heard of

The Art Gallery of Nova Scotia (AGNS) has opened "On the Matter of Memory: The Drawings of Harold Cromwell," the first solo exhibition dedicated to the late African Nova Scotian folk artist. Cromwell (1919–2008) created intricate ballpoint-pen drawings on everyday surfaces like cupboard doors and paper plates, chronicling working-class rural life. His works were sold for a few dollars at the Annapolis Farmer’s Market and were largely overlooked during his lifetime, despite his regional popularity. The exhibition runs until September 13, 2026, and aims to elevate his legacy alongside better-known Nova Scotian folk artists like Maud Lewis.

Farm Projects to host 'Little Happiness' and 'Considering Change'

Farm Projects in Hudson, New York, will host two concurrent exhibitions from May 2 through 18, 2026: "Susan Carr: Little Happiness" and "Nancy Berlin: Considering Change." Carr's exhibition features colorful wooden sculptures that treat color as structure, while Berlin's show explores climate change and shifting knowledge through layered paintings and works from her series "Flight Patterns" and "Constant Revisions." An opening reception is scheduled for May 9.