Yvonne Garcia, owner and director of Houston's oldest operating gallery, Hooks-Epstein Galleries, discusses her journey from aspiring actor to gallery leader in a new interview. She details her initial career in acting and talent representation, her return to the art world through roles at the Museum of Fine Arts, Houston and Sicardi Gallery, and her fateful hiring by pioneering gallerist Geri Hooks in 2006.
During the fourth annual Guadalajara Art Week, held in late September 2025, Mexico's art world converged on the city for five days of fairs, exhibitions, public programs, and studio tours. Key events included Estación Material, a boutique fair launched by Material Fair director Brett Schultz, where galleries presented single-artist installations; a performance art showcase by Salón Acme's Estudio Acme program; and a new edgy fair called Temporal, held in a dilapidated downtown building. Standout artists included Sebastián Hidalgo (showing with Saenger Galería) and Othiana Roffiel (with Galería Karen Huber). The week also featured exhibitions in distinctive venues such as a 1940s garment factory, a 19th-century cemetery, and Casa Cristo, an early work by architect Luis Barragán.
The latest episode of The Art Newspaper's podcast 'The Week in Art' covers three major stories: the fifth edition of London Gallery Weekend, which opens amid a sluggish global art market; the National Museum of Brazil's planned partial reopening after a devastating 2018 fire; and the Morgan Library & Museum's new exhibition 'A Lively Mind: Jane Austen at 250', featuring a miniature portrait of the author. Host Ben Luke speaks with gallerists Ananya Mukhopadhyay and Jeremy Epstein about the weekend's potential market impact, interviews museum director Alexander Kellner on the recovery efforts, and discusses the Austen portrait with curator Juliette Wells.
Cultured magazine asked 12 European collectors how they discover new talent, timed to the 61st Venice Biennale. Collectors like Nicole Saikalis Bay, Amélie du Chalard, Belma Gaudio, and Laurent Asscher share their personal approaches—ranging from emotional resonance and dialogue with existing works to long-term obsession with an artist before acquiring a piece. The responses reveal a diversity of methods, from instinct-driven buying to conceptual and technical evaluation.
Cultured magazine's 2026 Met Gala coverage features a roundtable of critics and writers offering candid, often humorous takes on celebrity looks from the red carpet. Emma Chamberlain's hand-painted Mugler gown is widely praised as the most on-theme, while Troye Sivan's Prada homage to Robert Mapplethorpe and Chase Infiniti's Thom Browne trompe-l'œil dress also earn acclaim. Gabrielle Richardson calls for more color, noting the theme is about art, and criticizes the monochromatic trend. Mackenzie Thomas pans Alysa Liu's look as "prom" and "quinceañera," while others celebrate Naomi Osaka's Robert Wun Couture and Connor Storrie's Saint Laurent ensemble. The article is structured as a series of short, punchy quotes from multiple contributors, each focusing on specific attendees' fashion choices.
Economic theorist and NYU economics professor Debraj Ray discusses his art collection, which began with a Picasso etching purchased from a Berkeley gallerist after his daughter Zayira discovered the image online. His collection focuses on early- and mid-20th-century masters, including works by Joan Miró, Egon Schiele, and Henry Moore, with a preference for monochrome etchings and lithographs. Ray describes how his analytical mindset as an economic theorist connects to his approach to art, viewing aesthetics and mathematics as interconnected modes of thinking.
The Guggenheim Museum held its 2025 gala, titled "Under the Oculus: A Celebration of Visionaries," honoring artist Rashid Johnson, whose solo exhibition "A Poem for Deep Thinkers" is on view at the institution, alongside the National Basketball Association and National Basketball Players Association. The event featured a seated dinner by Chef Marcus Samuelsson, a performance by Questlove and the Roots, and drew a crowd of art-world figures, sports leaders, and patrons including Abigail and Joseph Baratta, Wendy Fisher, NBA Commissioner Adam Silver, and gallerist David Kordansky.
Art-world insiders share their best and worst experiences at gallery dinners, from seating disasters and VIP-only food queues to intimate gatherings and haunted-house Halloween parties. Contributors include collectors, artists, curators, writers, and gallerists who recount memorable evenings hosted by figures like Jose Martos and White Cube, revealing the social dynamics that define these events.
CULTURED magazine hosted its third annual Frieze London breakfast at the Dorchester hotel, co-hosted by Editor-in-Chief Sarah Harrelson, European Contributor Georgina Cohen, and photographer Mary McCartney. The event drew a mix of art-world figures, celebrities, and cultural tastemakers, including actor Richard E. Grant, Tate director Maria Balshaw, musicians Jess Glynne and Sophie Ellis-Bextor, gallerists Lucy Chadwick and Pilar Corrias, and collectors Laura de Gunzburg and George Wells. Guests enjoyed a plant-based breakfast and copies of CULTURED's September issue amid the buzz of Frieze London.
Real estate investor Carl Gambino, who splits his time between New York, Los Angeles, and Miami, discusses his art collection and approach to collecting in an interview with Cultured. Gambino, who once considered flipping art but resolved to buy for keeps, shares his early mistake of buying under social pressure at a dinner in France, a decision that left him feeling sick. He credits Kim Hastreiter of Paper magazine and Marsea Goldberg of New Image Art for teaching him to buy only what he loves. His collection features emerging painters such as Alejandro Piñeiro Bello, Cynthia Talmadge, Tianyue Zhong, and Dennis Miranda Zamorano, and he supports exhibitions including a showing of LaKela Brown at the Museum of Contemporary Art Detroit.
Artadia, a nonprofit grantmaker, held its third annual tennis tournament at the Los Angeles Tennis Club in May 2025, moving the event from its traditional pre-Frieze slot in response to the year's wildfires. The fundraiser, co-chaired by Charles Gaines, Jennie Lamensdorf, and Rafael Flores, gathered over 130 guests including gallerists from Gagosian, Hauser & Wirth, and David Zwirner, as well as curator Mia Locks and artists Ally Hilfiger, Todd Gray, and Roksana Pirouzmand. Forty-five participants played in a rotating doubles format, while others socialized; Locks gave remarks and won the tournament.
An art world insider publishes an open letter to auction executives, accusing them of encroaching on the primary gallery market by accepting consignments of works by emerging artists and scheduling auctions to coincide with major art fairs. The author argues that auction houses prioritize financial gain over artists' long-term career stability, destabilizing prices and encouraging speculation. They call for auction houses to respect the traditional boundaries between primary and secondary markets, stop glorifying auction prices, and avoid accepting works from recent primary sales.
Marat Guelman's exhibition at Ethan Cohen Gallery in New York (April 23–May 30, 2026) features AI-generated monoprints created in collaboration with the Montenegrin digital art group + - Komma. None of the works were painted by Guelman himself; instead, he programmed AI outputs based on historical models by artists like Picasso, Gauguin, Monet, Warhol, Lichtenstein, Turner, Matisse, and Richter. Every piece in the show incorporates an image of an atomic mushroom cloud, a motif Guelman uses to respond to Vladimir Putin's nuclear threats during the Ukraine war.
Christie's will auction seven paintings by Gerhard Richter from the personal collection of legendary gallerist Marian Goodman in May 2026, headlining a series of sales titled "Breaking Ground: The Private Collection of Marian Goodman." The group includes the iconic 1982 work *Kerze (Candle)*, estimated at $35–50 million, and spans Richter's career from 1982 to 2009. Goodman, who died in 2024, began representing Richter in 1985 after writing him a letter, and her collection reflects their decades-long professional and personal relationship.
Paula Cooper opened her pioneering gallery in Soho in 1968, betting on the then-desolate industrial neighborhood as artists began moving into its lofts. She cultivated deep, personal relationships with the artists she represented, such as Lynda Benglis and Joel Shapiro, as well as with other major figures like Jasper Johns, fostering a slower, more humane art world pace. Her success helped transform Soho into a major gallery district, attracting institutions like Sonnabend and Castelli.
Marian Goodman, the legendary New York gallerist who introduced European avant-garde artists to American audiences, is selling works from her private collection through Christie's. The collection features a standout group of paintings by Gerhard Richter, including his masterpiece *Kerze*, which will lead the Richters & 21st Century Evening Sale. Additional pieces will be offered across 20th and 21st Century Art auctions in New York.
Robert Mnuchin, the prominent New York gallerist who transitioned from a 33-year career on Wall Street to become a major force in the art world, has died at age 92. After heading the trading desk at Goldman Sachs, he co-founded C&M Arts in 1992 with James Corcoran, later establishing L&M Arts with Dominique Lévy in 2005, which was renamed Mnuchin Gallery in 2013. Known for his aggressive bidding at auction, Mnuchin made headlines with high-profile purchases including Roy Lichtenstein's *Sinking Sun* (1964) for $15.6 million in 2006 and Jeff Koons's *Rabbit* (1986) for $91.1 million in 2019, the latter a record for a living artist at the time.
London gallerist David Juda of Annely Juda, one of the city's longest-operating dealers, shares his strategies for keeping a gallery open amid a wave of closures. He emphasizes staying small, avoiding expensive art fairs for newcomers, and planning succession—handing responsibilities to co-director Nina Fellmann as he approaches 80. The gallery is moving to a new space on Hanover Square, inaugurating with new paintings by David Hockney.
Tim Blum, co-founder of the influential Los Angeles gallery Blum (formerly Blum & Poe), announced he will phase out the traditional gallery model, closing the gallery's permanent public spaces in Los Angeles and Tokyo. Blum cited burnout from the relentless demands of art fairs and gallery openings, emphasizing the decision is about the system, not the market. The gallery, which introduced American audiences to Japanese artists like Yoshitomo Nara and Takashi Murakami and gave early shows to Mark Grotjahn and Anna Weyant, will shift to a more flexible model involving collaborations and special projects. A previous New York space closed in 2023, and a Tribeca space's future remains undetermined.
Germany is the second-most represented country at Art Basel in Switzerland this year, with over 40 galleries participating, trailing only the United States. The fair is led by German-born director Maike Cruse, and features prominent German artists including Katharina Grosse, Martin Kippenberger, Tim Eitel, and Jana Schröder. Despite lacking mega-galleries, Germany boasts respected spaces like Galerie Max Hetzler and renowned collectors such as Reinhard Ernst, Julia Stoschek, and the Plattner family. Dealer Gerd Harry Lybke notes Germany's art market is 'very stable' compared to other locations.
Cultural strategist András Szántó has published the third and final volume of his trilogy on the future of museums, titled *What Is the Future of the Art World?*. The book features dialogues with a wide range of art-world figures—including gallerists José Kuri and Atsuko Ninagawa, collectors Alain Servais and Sylvain Levy, artists William Kentridge and Holly Herndon & Mathew Dryhurst, curator Fatoş Üstek, network scientist Albert-László Barabási, former Art Basel director Marc Spiegler, and Sheikha Al-Mayassa Al Thani—who discuss topics such as the definition of the art world, its rules, and its future trajectory. Szántó notes that there is no consensus on whether the art world is still expanding or entering a phase of slowdown, with different regions moving on divergent paths.
A collection of over 100 photographs by German photographer Albert Scopin, taken while he lived at New York's legendary Chelsea Hotel from 1969 to 1971, has been rediscovered and published in a new book. The images, long thought lost after being sent to a German magazine in the 1970s, were unexpectedly recovered by a gallerist in 2016 and capture the hotel's eclectic residents and vibrant countercultural scene.
The Gallerist, a new satire directed by Cathy Yan, premiered at the Sundance Film Festival. The film follows struggling gallerist Polina Polinski (Natalie Portman), who is betting everything on a one-artist debut at Art Basel Miami Beach. After an obnoxious art influencer, Dalton Hardberry (Zach Galifianakis), dies accidentally by impalement on a sculpture titled The Emasculator, Polina and her assistant Kiki (Jenna Ortega) conspire to pass off his corpse as part of the artwork, duping wealthy clients. The ensemble cast also includes Catherine Zeta-Jones as a legendary dealer reminiscent of Marian Goodman, Da'Vine Joy Randolph as the earnest artist Stella Burgess, and Sterling K. Brown as Polina's ex-husband.
Art adviser and Baer Faxt founder Josh Baer has proposed specific price limits for works by "ultra-emerging" artists—those fresh out of school, such as an MFA graduate from Yale. In his No Reserve newsletter, Baer advises collectors to pay no more than $15,000 for a large work and $5,000 for a small piece at a first solo show in a reputable gallery. The advice comes amid ongoing debate about inflated prices for young artists, following a column by Artnet News editor-in-chief Naomi Rea that questioned the market's pricing logic. LA gallerist Charlie James endorsed Baer's thresholds, though some collectors argue that pricing cannot be so neatly codified.
The third edition of the Napoli Gallery Weekend is scheduled for May 22–24, 2026, spanning the Chiaia district and the historic center of Naples. This year’s key development is the formation of an association of organizing galleries—Acappella, Alfonso Artiaco, Andrea Ingenito Contemporary Art, Galleria Fonti, Gallerie Riunite, Galleria Tiziana Di Caro, Studio Trisorio, and Umberto Di Marino—aiming to coordinate openings, exhibitions, and special visits while strengthening the city’s contemporary art scene. Highlights include shows by Valentina Artone, Adam Pendleton and Antoni Tàpies, David Bowes, Edoardo Aruta, Martin Kippenberger at Galerie Gisela Capitain’s Naples space, Salvatore Emblema and Luisa Lambri, and a geopolitical group exhibition titled "Global Folklore."
Intervista al gallerista di frontiera che ha aperto il suo spazio a Vasto in Abruzzo
Sangallo Fine Art, a modern art gallery located in Vasto, Abruzzo, Italy, is profiled in an interview with its founder Giorgio di Michele Marisi. The gallery, born from a chance encounter and a passion for 20th-century art, has carved out a distinctive space in the periphery of the art world. It is currently presenting the exhibition "Permanenza della materia espansa" (2026), curated by Lorenzo Madaro, which exemplifies its commitment to critical rediscovery and experimental display. Despite being geographically distant from traditional art hubs, the gallery has built a loyal clientele of knowledgeable collectors and international buyers, relying on direct relationships and participation in art fairs.
The Intuit Art Museum (IAM) in Chicago reopens on May 23 after a $10 million renovation that began in September 2023, partially funded by a $5 million grant from the City of Chicago. The expansion triples the museum's exhibition and education space, adds ADA-compliant features, and includes new galleries, a Center for Learning and Engagement Opportunities (CLEO) named after co-founder Cleo Wilson, and a reinstalled room dedicated to outsider artist Henry Darger. The museum, originally founded in 1991 as the Society for Outsider, Intuitive and Visionary Art by figures including artist Roger Brown and gallerists Carl Hammer and Ann Nathan, has long championed self-taught and visionary artists.
The Ansel Adams Publishing Rights Trust has publicly condemned New York gallerist Peter Danziger for selling AI-colorized editions of Adams's iconic photograph "Moonrise, Hernandez, New Mexico" (1941) at the AIPAD Photography Show in April. Danziger displayed the AI-generated image at his booth with a wall text disclosing the prompt used, and offered prints in editions of 10 at three sizes. The Trust stated it was not notified in advance and accused Danziger of exploiting Adams's name and reputation for commercial gain. Danziger defended his actions, arguing the original image is in the public domain and that his work is transformative, though he apologized for not notifying the Trust.
Bruno Bischofberger, the influential Swiss gallerist and collector, has died at age 86. A pivotal figure in the contemporary art market, he opened his first gallery in Zurich in 1963 and was instrumental in introducing American Pop Art to Europe, exhibiting Warhol, Lichtenstein, and Rauschenberg. He later championed Minimalism, Land Art, and Neo-Expressionism, representing artists like Sol LeWitt, Donald Judd, and Francesco Clemente. Most famously, Bischofberger discovered Jean-Michel Basquiat in 1981 and orchestrated the legendary collaboration between Warhol, Basquiat, and Clemente. His close relationship with Warhol included a first-refusal agreement on future works and the suggestion of standardized portrait commissions that became Warhol's primary income source.
Alexandre Gabriel, a partner at São Paulo gallery Fortes D’Aloia & Gabriel, opens his home in the Praça da República neighborhood to reveal his personal art collection, which includes works by friends and a Robert Mapplethorpe photograph of Peter Berlin (1976). Gabriel describes how his collection began with gifts from artist friends he met while interning at a film production company in 1996, including Ivens Machado, Luiz Zerbini, Barrão, and Ernesto Neto, and emphasizes that his collection is strictly personal, guided by love and memory rather than market trends.