Lubaina Himid will represent Great Britain at the 61st Venice Biennale in 2026. She plans to exhibit a new installation of large, multi-panel paintings and works on found objects, accompanied by a sound piece by Magda Stawarska, all inspired by her lifelong exploration of belonging. The work aims to navigate melancholy and deep remembering, inviting visitors to bring their own experiences into the pavilion.
Larry Gagosian has opened a new flagship gallery at 974 Madison Avenue (preferring the address 980 Madison at 76th Street) after Bloomberg Philanthropies took over the building's upper floors, which had housed Gagosian's New York flagship since the late 1980s. The megadealer relocated to the street level, creating a 12,000-square-foot complex with exhibition spaces, offices, meeting rooms, and private viewing areas designed by Jonathan Caplan of Caplan Colaku Architects. The gallery launched with a double-header presentation of works by Marcel Duchamp and Robert Rauschenberg, and features ceilings just over 12 feet high, adaptable walls, and a vestibule display of art books.
Bidding has concluded for KAWS's 2019 screenprint, *Untitled (KAWS X Mocad)*, a limited-edition work produced for the artist's solo exhibition "Alone Again" at the Museum of Contemporary Art Detroit. The work was offered through Palm Beach Modern Auctions, with detailed condition reports and terms available to prospective bidders.
The Los Angeles County Museum of Art (LACMA) has finally unveiled its new David Geffen Galleries, a $724 million concrete and glass structure designed by Swiss architect Peter Zumthor. Spanning Wilshire Boulevard, the 110,000-square-foot elevated gallery space will house 1,700 works from the museum’s permanent collection, including masterpieces by Francis Bacon, Henri Matisse, and Katsushika Hokusai. The building is scheduled to open to the public on April 19, marking the completion of a massive campus expansion that has been nearly two decades in the making.
David Hockney’s 1965 painting "English Garden" is set to be auctioned at Sotheby’s London during its modern and contemporary evening sale on March 4. Estimated to fetch between £2.5 million and £3.5 million, the work is historically significant as the artist’s first foray into English landscape painting. Interestingly, Hockney painted the vibrant scene from memory and a photograph in American Vogue while he was living in Boulder, Colorado.
Pour leurs 30 ans, les Pokémon entrent au musée : attrapez-les tous !
The Musée en Herbe in Paris is hosting a major exhibition titled 'Admirez-les tous ! Une exposition hommage à Pokémon' to celebrate the 30th anniversary of the Pokémon franchise. The show features original Game Boy consoles, early trading cards, preparatory drawings for the animated series, and insights from the French translator who named the creatures. It also highlights how Pokémon have entered the global visual heritage.
Gozo Yoshimasu has been awarded the inaugural Serpentine x FLAG Art Foundation Prize, a new biennial award providing £200,000 per recipient over ten years, totaling £1 million in artist support. The jury included Michelle Kuo, Venus Lau, Hans Ulrich Obrist, Jonathan Rider, and Rirkrit Tiravanija. Yoshimasu, born in Tokyo in 1939, is known for his interdisciplinary practice spanning poetry, performance, photography, and experimental moving image. As part of the prize, he will stage a solo exhibition at Serpentine North in autumn 2027, traveling to The FLAG Art Foundation in New York in spring 2028—his first major solo institutional presentations in Europe and the United States.
This article is a listing for Cy Twombly's artwork "Untitled" (1960-61), a graphite and wax crayon on paper piece offered at Christie's. It provides a detailed biography of the artist, noting his birth in Lexington, Virginia, his studies at the School of the Museum of Fine Arts, Boston, the Art Students League of New York, and Black Mountain College, and his permanent move to Rome in 1957. The listing includes his major exhibitions, such as retrospectives at MoMA and the Whitney Museum, and highlights his high auction record of $70.5 million for "Untitled" (1970) at Sotheby's in 2015.
At the New Art Dealers Alliance (Nada) New York fair, running until 17 May, multiple artists are presenting works that heavily incorporate textiles to explore themes of culture, belonging, and history. Artists such as Keith Lafuente (with SoMad), Polina Osipova (with JO-HS), and Griselda Rosas (with Luis De Jesus Los Angeles) use fabric and sewing techniques to examine histories of inequality, migration, and labor. Rosas embroiders over painted paper using imagery from Mexican codices, Osipova prints family photos onto traditional Chuvash fabric, and Lafuente repurposes scraps from Oscar de la Renta to comment on global labor inequalities. Other participants like Ruth Owens (with Voltz Clarke Gallery) use textiles in lightbox works to tell personal stories of migration and abduction.
The article highlights standout booths at the Independent Art Fair, newly relocated to Pier 36 in Manhattan's Lower East Side. With 76 exhibitors, 26 of whom are presenting an artist's New York debut, the fair features notable presentations including Sprüth Magers' restaging of Gretchen Bender's 'TV Text & Image (PEOPLE WITH AIDS)', Omar Mismar's debut with abstract paintings on salvaged PVC banners referencing Lebanese protests, Carrie Schneider's large-format photographs from the Venice Biennale, and works by Kim Stolz and Raphael Egil at YveYANG. The fair runs through Sunday and aims for greater attendance and institutional influence.
Angela de la Cruz's solo exhibition "Upright" at Birmingham's Ikon gallery presents a collection of broken and mended artworks. Her canvases are crumpled, folded, and snapped, while sculptures are assembled from precarious junk like a three-legged chair on a stool and a piano stacked atop another. The works, though appearing on the verge of collapse, are all repaired and propped back up, reflecting a state of post-collapse resilience.
Several key personnel changes occurred in the art world this week. Boston gallery Praise Shadows hired Rebecca Hayes as its new Sales Director, while Hong Kong's Para Site appointed curator James Taylor-Foster as its Executive Director. Concurrently, galleries Lehmann Maupin and Jessica Silverman announced a co-representation agreement for artist Guimi You, and London's Timothy Taylor gallery revealed it will close its New York outpost after ten years.
Artists Alexandre Singh and Natalie Musteata have won the Academy Award for Best Live Action Short Film for their dystopian French-language short, "Two People Exchanging Saliva." In a rare occurrence for the Oscars, the category resulted in a tie with Sam Davis’s musical comedy "The Singers." Singh and Musteata’s film depicts a near-future Paris where physical intimacy is a capital offense and commerce is conducted through ritualized physical violence.
Collector R Parmar has launched Enzo Art Fair, a new boutique satellite fair debuting during Frieze Week Los Angeles in Echo Park. Hosted at Parmar’s Alabaster Projects warehouse, the fair features nine New York-based galleries, including Magenta Plains and Silke Lindner, and operates on a non-traditional, cost-free model for both exhibitors and attendees.
Musician Scotty Ramon, better known as Kid Cudi, has launched his debut solo painting exhibition titled "Echoes of the Past" at Ruttkowski;68 gallery in Paris. The show features a series of striking, flat-palette canvases centered around an avatar named Max, who navigates scenes of psychological struggle and liberation. To accompany the visual works, Ramon composed a 10-minute percussive score that plays on a loop in the gallery, intended to transport viewers into his creative psyche.
The U.S. Supreme Court has struck down a series of sweeping tariffs imposed by the Trump administration, ruling in a 6-3 decision that the executive branch exceeded its authority. Chief Justice John Roberts, writing for the majority, stated that the International Emergency Economic Powers Act (IEEPA) does not grant the president the power to unilaterally impose tariffs of unlimited scope and duration. While tariffs on steel and aluminum remain, the ruling removes the 10 percent global blanket tariff and the 25 percent reciprocal tariffs previously levied against Canada, China, and Mexico.
Konstantina Krikzoni's solo exhibition "ARMATURA" at L'Appartement in Geneva presents a new suite of paintings born from a period of intense solitude. The works explore painting as a medium for self-expression, using the metaphor of an armature—the metal framework that supports sculptures—to represent an inner structure of fortification, endurance, and survival. The paintings feature elusive female figures and landscapes rendered with delicate layers of pigment, evoking ancient myths and goddesses, with works like *Warrior I* (2025), *L.K. I Killed the Pink* (2025), and the titular *Armatura* (2025) conveying emotional rawness and psychological drama.
Italy slashed VAT on art sales from 22% to 5% in July 2024, the lowest rate in the European Union, after two decades of lobbying by the Apollo Group. The tax cut took effect just before Artissima, Italy's largest contemporary art fair, which saw strong turnout and reported sales increases for many of its 73 Italian galleries, with prices ranging from $2,200 to nearly $20,000. ARTnews interviewed Artissima director Luigi Fassi about the impact of the new rate on the Italian art market and the broader cultural ecosystem.
Artnet News released its mid-year intelligence report on the art market, led by Katya Kazakina's analysis titled “The Storm Hits the Art Market: Who’s Getting Swept Away?” The article cites major gallery closures including Blum, Venus Over Manhattan, and Kasmin, and quotes a collector warning that “blood will flow in the streets” before the market recalibrates. Kenny Schachter, an artist, dealer, and Artnet columnist, publicly criticized the coverage on Instagram, calling it alarmist and arguing that the market is “fucking fine.” The exchange has sparked a debate about the fairness and responsibility of art-market reporting.
American artist Ellen Akimoto (b. 1988) has opened her second solo exhibition with Berlin-based Galerie Judin, titled “Everybody’s in the Room.” The show features a body of new work exploring reality, human relationships, and the interplay between figuration and abstraction. Its centerpiece is a monumental six-panel painting spanning nearly 40 feet, which incorporates the physical gallery space as part of the artwork. The exhibition will later travel to Kunstverein Ulm in September. In an interview, Akimoto discusses themes of inside and outside, ghosts of ordinary objects, and the conceptual starting point of the show, which she describes as a culmination of processes developed over the past year.
Korean artist Kim Yun Shin, who turns 90 in 2025, is currently the subject of a two-part solo exhibition spanning Lehmann Maupin's London and New York galleries. Titled after her series "Add Two Add One, Divide Two Divide One," which began in 1975, the shows opened in February 2025 at the gallery's temporary Cork Street space in London and continue at its New York location through May 31, 2025. The exhibitions draw on Eastern philosophy of Yin and Yang, exploring themes of union and division. This follows her debut at the 2024 Venice Biennale, where curator Adriano Pedrosa selected eight of her sculptures for the Central Pavilion under the theme "Foreigners Everywhere." In an interview, Kim discusses her nomadic life—from North Korea to South Korea, Paris, Argentina, and back—and how her experiences as a foreigner shaped her artistic perspective.
Urban explorer photographer Isaac Wright, known professionally as “Drift,” was arrested by NYPD officers at the opening of his first solo exhibition, “Coming Home,” at Robert Mann Gallery in Chelsea on Thursday evening. Witnesses reported that an undercover woman signaled to police before the arrest, which occurred just before 8 p.m. Wright faces a charge of criminal trespassing in the third degree, a class B misdemeanor, and was released the next day. The show continued despite the disruption.
Suki Seokyeong Kang, a South Korean artist known for blending traditional Korean heritage with contemporary abstract forms, died on Sunday at age 47 (48 in Korean reckoning) after a battle with cancer. Her New York representative, Tina Kim Gallery, confirmed the cause. Kang's work spanned painting, textiles, sculpture, and installation, often incorporating postminimalist structures, craft techniques, and industrial materials. Notable series include her precarious "Grandmother Tower" sculptures and "Mountain" pieces made from curved steel and thread. She was born in Seoul in 1977, studied at Ewha Womans University and the Royal College of Art in London, and later became a professor of painting.
Suki Seokyeong Kang, a Korean sculptor known for reimagining traditional Korean artistic forms in contemporary sculpture, died on Sunday at age 48 after a years-long battle with cancer. Her passing was announced by Seoul’s Kukje Gallery and her New York representative, Tina Kim Gallery. Kang’s work drew from centuries-old practices such as Joseon Dynasty painting and 600-year-old musical notation, translating them into highly conceptual, visually seductive sculptures that appeared in biennials worldwide, including Gwangju and Venice, and in museum surveys such as a 2023 show at Seoul’s Leeum Museum of Art. At the time of her death, her largest-ever US exhibition was on view at the Museum of Contemporary Art Denver, featuring her "Mountain" series inspired by the traditional Korean style si-seo-hwa.
A painting in a private UK collection, long considered a workshop copy of Rembrandt's 'Old Man with a Gold Chain' at the Art Institute of Chicago, has been newly attributed to Rembrandt himself by scholar Gary Schwartz. Schwartz argues the quality and lack of corrections suggest Rembrandt, not a pupil, created the canvas replica while the original process was still fresh.
The article examines the paradox of rising art prices despite a contracting market. The global art trade shrank by 12% in 2024, according to the Art Basel/UBS Art Market report, and financial volatility from trade wars has further depressed conditions. Yet dealers resist lowering prices, fearing that doing so would signal decreased value. Collectors like Jeff Magid argue that entry-level prices—often tens of thousands of dollars—are shutting out new buyers, and artists sometimes must leave their galleries to restart at lower price points. The upcoming Frieze New York fair will test whether this pricing strategy holds.
Il Louvre cambia: scelto il progetto che traghetterà il museo nel suo nuovo Rinascimento
The Louvre has announced the winners of its "Nouvelle Renaissance" competition, selecting a team led by STUDIOS Architecture Paris, with Selldorf Architects for museography and BASE Landscape Architecture for landscaping. The jury, chaired by Marc Guillaume and composed of 21 experts, chose this proposal from five finalists for its respectful and contemporary approach, which elegantly connects the city, the palace, and the museum while improving visitor flow and security. The project addresses urgent needs including new underground entrances, a dedicated space for Leonardo da Vinci's Mona Lisa, enhanced circulation, and green spaces, following a period of difficulty for the museum including a high-profile theft in October.
Ayan Farah and Asmaa Jama, two of the three artists representing Somalia at the 61st Venice Biennale (2026), discuss their plans for the national pavilion in an interview with ArtReview. Farah will present an installation of large-scale embroidered landscape paintings using clay pigment sourced from Somalia and shell-derived pigment from Scotland, alongside silk paintings exploring time and nature. Jama will focus on the Somali poetry form saddexleey, creating a sensorial experience through moving image, installation, and visual artworks that draw on magical realism and cinematic surrealism. The pavilion is located in the Palazzo Caboto, and the third representative is poet Warsan Shire.
Aileen Murphy's third exhibition at Deborah Schamoni in Munich, titled "Sleeps on the Ceiling," presents five new paintings dominated by rosé and pink tones. The works revolve around a table-like motif, featuring animals, disembodied limbs, and surreal details such as a white cat with red eyes and a yellow snake. Murphy, who completed her studies in 2018, blends abstract gestures with detailed figuration, creating scenes that are both playful and uncanny. The exhibition's title is borrowed from Elizabeth Bishop's poem "Sleeping on the Ceiling" (1946), reflecting a dissolution of domestic interior, urban monument, and psychological landscape.
Ghanaian contemporary artist Ibrahim Mahama announced plans to file charges against the Ghana Police Service after allegedly being violently attacked by officers from a unit called the Black Maria. Mahama states he was accosted on a bus in Tamale, sustaining severe facial injuries including broken teeth and bruising that forced him to cancel an international lecture and work tour. The police have denied the claims, stating the unit in question was not in the region at the time.