The Seton Gallery at the University of New Haven is presenting "Embrace: Elizabeth Gourlay," an exhibition celebrating the life and work of the late Connecticut-based abstract painter Elizabeth Gourlay. The show features her richly layered, color-sensitive paintings and includes an opening reception on February 7 and an exhibition talk on February 22, running through March 10.
Corey Helford Gallery in Los Angeles presents two solo shows and a group exhibition, running through February 14. Japanese pop-surrealist Junna Maruyama debuts her first solo show at the gallery, "Who Am I?", featuring her Gyaru Series and signature doll-like figures, butterflies, and mixed-media elements. Chicago-based artist Travis Lampe presents "The Ham-Fisted Coping Mechanism," inspired by rubber-hose animation and vintage cartoons. The group exhibition accompanies these solo presentations.
180 Studios in London has extended two exhibitions—'Paradigm Shift' and Ryoji Ikeda's 'data-cosm [n°1]'—through February 1, 2026, due to popular demand. 'Paradigm Shift' presents moving-image works from the 1970s to the present by artists including Andy Warhol, Pipilotti Rist, Nan Goldin, and Arthur Jafa, exploring the evolution of screen culture across avant-garde cinema, TV, music video, and internet culture. Ikeda's 'data-cosm [n°1]' is a world-premiere, site-specific audio-visual installation commissioned by 180 Studios, charting data from particle physics to astrophysics.
Anna Schwartz Gallery, a cornerstone of Australia’s contemporary art scene, will close in December after 40 years in Melbourne. It will be replaced by a new venture, Anna Schwartz Projects, which will focus on occasional, project-based exhibitions, conversations, and events across installation, performance, publishing, and music. The gallery’s stable has included artists such as Shaun Gladwell, Angelica Mesiti, and Marco Fusinato, each of whom represented Australia at the Venice Biennale.
At 87, New York-based artist Larry Poons remains highly productive, with two works featured in Artnet Auctions' GEMS: Collecting Post-War Abstraction, live through September 24, 2025. The paintings—To Have Missed the Walk (2014, est. $160,000–$180,000) and Jarrett (2019, est. $60,000–$70,000)—exemplify his color-driven, gestural abstraction. Poons, who studied at the New England Conservatory of Music before turning to painting at the School of the Museum of Fine Arts, is also showing in Yares Art's group exhibition "Fields of Color V" and recently had a solo show there, "Provocation, Iliad: Powers + Spells." In a studio visit, he discussed his process, his early career, and his belief that painting has no rules.
Gretchen Andrew, a former Silicon Valley software engineer turned artist, has created a series titled "Facetune Portraits: Universal Beauty" that critiques unattainable beauty standards perpetuated by social media and AI. Using images of Miss World contestants, she employs the apps Facetune and Body Tune to digitally alter the photos, then works with creative robotics company Matr Labs to produce oil paintings. An oil paint printer creates the original image, and an XY-axis drawing robot adds brushstrokes based on discrepancies between the original and AI-modified versions, resulting in unsettling portraits that highlight the 'scars' of digital manipulation. The series won the Acquisition Award at Untitled Art Miami Beach and has been shown at Hope 93 gallery in London and Heft Gallery in New York, with a major institutional acquisition pending.
Argentine artist Gabriel Chaile has opened a new commission titled "Archaeology of Memory" at London's Whitechapel Gallery. The site-specific installation features monumental adobe sculptures that incorporate everyday and decorative objects sourced from the surrounding East End neighborhood. Chaile, who is based in Lisbon, draws on the material traditions of Indigenous communities from northwest Argentina, blending roles as artist, anthropologist, and storyteller to explore themes of migration, identity, and cultural memory.
Alla Biennale di Venezia il Padiglione dell’Armenia si trasforma in bottega d’artista: le opere nascono di fronte al pubblico
The Armenian Pavilion at the 2026 Venice Biennale will transform into a functioning artist's studio, where sculptor Zadik Zadikian will create works in real time before the public. Titled "The Studio," the project is curated by gallerist Tony Shafrazi and curator Tina Chakarian, and will operate daily from May 6 to November 22 at the Tesa 41 of the Arsenale. Zadikian, born in Yerevan in 1948 and now based in the US, will work with traditional Armenian plaster techniques alongside his son Aram and studio assistants, emphasizing the process of making over the finished object.
A recent survey by the US Government Accountability Office (GAO) found that approximately 85% of US museums face a costly backlog of maintenance or building repairs, with 77% having at least one structural issue that puts their collections at risk. Based on a survey of around 300 museums and 17 site visits, the report reveals that institutions across the country struggle to keep buildings updated and safe due to a lack of funding, with challenges especially pronounced in rural and remote locations where shipping materials and finding skilled workers is prohibitively expensive. Many museums are housed in historic homes or sites that are part of their collections, adding further complexity, and smaller museums often lack the budget to address major problems like new roofs or HVAC systems.
Real estate brokerage Cushman and Wakefield has filed a lawsuit against Sotheby’s, alleging the auction house failed to pay a $10.2 million commission following the $510 million sale of its former York Avenue headquarters to Weill Cornell Medicine. The broker claims that under a 2023 agreement, they were entitled to a 2-percent fee if the medical school transitioned from a tenant to a buyer, a deal that was finalized in 2025. Sotheby’s has dismissed the lawsuit as "baseless," asserting they will be vindicated in court.
Cardamom, the in-house restaurant at the Walker Art Center in Minneapolis, is laying off sixteen front-of-house staff members as it transitions to a QR-code-based ordering system. The restaurant’s operator, DDP Restaurant Group, cited fluctuating museum traffic and rising operational costs as the primary drivers for the shift to a counter-service model. While kitchen staff and bartenders will remain, the move effectively replaces traditional table service with digital automation.
Contemporary artist David Nott has partnered with LG Gallery+, a digital visual curation service from LG Electronics, to make his work available digitally. His new piece, COLOR RIDDLE VI (2026), created specifically for the collaboration, is accessible via the platform's Artist Collaboration Shelf, allowing users to display it on LG screens.
Artist Sougwen Chung is presenting new work, including the 10-metre scroll 'Recursion 0,' at Art Basel Hong Kong's new Zero 10 sector. The piece, created with brainwave data, will be completed live at the fair, showcasing her ongoing exploration of human-machine collaboration.
Bangladeshi artist Soma Surovi Jannat has opened her first UK exhibition, 'Climate Culture Care,' at the Ashmolean Museum in Oxford. The show features around 20 paintings and drawings created largely during a 2023 residency, drawing inspiration from the endangered Sundarbans mangrove forest and the museum's own collections. Her works fuse human, animal, and mythological imagery to depict the region's ecological and social struggles.
The Cheng-Lan Foundation, a new independent arts initiative, has launched in Hong Kong during the city's major art week. Founded by Brian Yue, it supports artists, curators, and writers from African, Asian, Indigenous, and Latin American backgrounds through exhibitions, residencies, and commissions, with an inaugural solo show by Manila-based artist Cian Dayrit.
The New York-based Asian-American art and fashion collective CFGNY has opened a new exhibition, "Puddles into Pond," at the non-profit art space Amant in Brooklyn. The show features an immersive installation with a shaggy fur bridge, kinetic sculptures, and ceramic works, running until August 16. This exhibition is part of a significant season for the collective, which also includes a debut installation at the Whitney Biennial and participation in a group show at Pioneer Works.
The Hong Kong International Cultural Summit returns on March 22-23, gathering cultural leaders from 14 countries in the West Kowloon Cultural District to discuss how institutions can reimagine their relationship with communities. Key figures like M+ Museum Director Suhanya Raffel, Hong Kong Palace Museum Director Louis Ng, and WestK CEO Betty Fung highlight the district's cross-disciplinary, audience-focused approach.
Shenzhen, China's major technology hub, is making a concerted push to become a significant player in the art world. The city began 2025 with major announcements from tech giants JD.com and Tencent, which are establishing new art museums in the city, appointing prominent directors Robin Peckham and Pi Li to lead them. This follows years of building cultural infrastructure, including the OCAT museum, the Sea World Culture and Arts Center, and the growth of local art fairs like Art Shenzhen.
A missing page from the Archimedes Palimpsest, the oldest surviving copy of the Greek mathematician’s writings, has been rediscovered at the Museum of Fine Arts in Blois, France. The 10th-century parchment, which had been missing for 120 years, contains portions of the treatise 'On the Sphere and the Cylinder' hidden beneath 20th-century illumination. The page was identified by a researcher from the French National Center for Scientific Research (CNRS) after being unaccounted for since 1906.
The William Penn Foundation has awarded $7.6 million in grants to six Philadelphia-based cultural institutions to enhance accessibility for low-income families and individuals with disabilities. The funding is allocated based on the volume of visitors using the ACCESS card program, which provides deeply discounted admission to residents receiving public assistance or those with disabilities. Key recipients include the Philadelphia Museum of Art, the Academy of Natural Sciences, and the Franklin Institute, along with Art-Reach, the organization managing the program.
The Ukrainian government has enacted a new resolution to streamline the evacuation of over three million cultural objects from conflict zones as the Russian invasion nears its fourth year. The policy establishes a mandatory evacuation zone for museum items within 50 kilometers of the frontline and requires storage at least 75 kilometers away. Crucially, the resolution empowers museum directors to act independently during crises and introduces a three-stage evacuation system based on the cultural value of the property.
how nada next generation of collectors salons
The New Art Dealers Alliance (NADA) has launched a new initiative called NADA Collects, a series of salons and educational events designed to demystify the art-buying process. Through gallery walks, dinners, and informal Q&A sessions, the program addresses the intimidation factor that often prevents potential buyers from entering the contemporary art market. By fostering a space where "no question is too dumb," NADA aims to bridge the gap between galleries and a new generation of collectors who may feel alienated by the perceived elitism of the art world.
The Institute of Museum and Library Services (IMLS) has issued new grant application guidelines that explicitly reference President Donald Trump's executive orders and his vision for U.S. culture. The guidelines encourage applicants to align with orders like "Making Federal Architecture Beautiful Again," which mandates classical style for government buildings, and "Restoring Truth and Sanity to American History," which seeks to control exhibition content. The cover letter also points applicants to orders on combating antisemitism and anti-Christian bias, which appears to warn against pro-Palestinian applications.
A previously unknown Michelangelo drawing, a red chalk study for the foot of the Libyan Sibyl on the Sistine Chapel ceiling, was discovered after an owner submitted a photograph to Christie's online estimate service. The work, created around 1511–12, sold at Christie's New York for $27.2 million, far exceeding its $1.5–2 million estimate and setting a new auction record for a Michelangelo drawing. The anonymous seller inherited the piece from his grandmother, and it had been in his family since the late 1700s.
On December 11, the National Museum of Asian Art (NMAA), part of the Smithsonian Institution in Washington, D.C., announced it is returning three Khmer period sculptures to Cambodia. The works—a 10th-century Uma, a 10th-century Harihara, and a circa-1200 Prajnaparamita—were determined to have been likely looted during Cambodia’s civil war (1967–1975), based on research with Cambodian authorities, lack of export documentation, and links to dealers known for trafficking looted antiquities.
Japan’s Yokohama Triennale has appointed Cosmin Costinaș and Inti Guerrero as co-artistic directors for its 9th edition, opening at the Yokohama Museum of Art on April 23, 2027. Costinaș, a Romanian writer and critic currently senior curator at Haus der Kulturen der Welt in Berlin, will become a curatorial adviser there at year’s end. Guerrero, from Bogotá, is a professor at City University in Hong Kong. The duo previously co-directed the 2024 Biennale of Sydney and the 2018 Dak’Art Biennale, and have collaborated on several other projects. They were selected from 22 candidates by a six-person international committee.
A new survey from the American Alliance of Museums (AAM) reveals that one-third of American museums have lost government grants and contracts since President Donald Trump took office. Based on responses from 511 museum directors, the report documents funding cuts from federal agencies including the Institute of Museum and Library Services (IMLS), the National Endowment for the Humanities (NEH), and the National Endowment for the Arts (NEA). These losses have forced museums to defer infrastructure improvements, cancel programming for underserved communities, and lay off staff. Some institutions have taken legal action, and a court ruling in May halted further dismantling of the IMLS. The Mellon Foundation has offered emergency grants, but two-thirds of surveyed museums have been unable to replace lost funding, with a median grant loss of $30,000.
On Tuesday, Israel carried out a missile strike in Doha, Qatar, targeting senior Hamas leaders, with explosions reported in the Leqtaifiya neighborhood and smoke visible over the Katara cultural district. The strike comes as a shock to Qatar, which has built a reputation for stability and is home to major art institutions operated by Qatar Museums, including Mathaf: Arab Museum of Modern Art, the National Museum of Qatar, and the Museum of Islamic Art. Art Basel, which announced in May a partnership with Qatar Sports Investments and QC+ to launch Art Basel Doha in February 2026, said it is closely monitoring developments and remains committed to the fair's inaugural edition.
Iwan and Manuela Wirth, owners of the global art gallery Hauser & Wirth, have relocated their permanent residency from the United Kingdom to Switzerland, where the gallery’s holding company is based. The move was registered in documents filed with Companies House this month, and the gallery confirmed to the Financial Times that the decision was for personal reasons, unrelated to tax law changes. Despite the relocation, the Wirths plan to open a new London location in 2026, and their UK gallery reported a 13 percent drop in turnover to £144 million in 2023.
The Netherlands has signed an agreement to return 119 Benin Bronzes to Nigeria, one of the largest repatriations of looted artifacts to date. The transfer, formalized on February 19 by Dutch culture minister Eppo Bruins and Nigerian official Olugbile Holloway at the Wereldmuseum in Leiden, includes 113 bronzes from the Dutch National Collection held at the museum and six additional objects from the municipality of Rotterdam. The artifacts were plundered by British forces in 1897 and later acquired by Dutch institutions, with provenance research confirming the museums were aware of their looted origins.