Coveted Rothko From Robert Mnuchin’s Collection Nets $85.8 Million in New York

A major Mark Rothko painting, *Brown and Blacks in Reds* (1957), from the collection of the late financier and dealer Robert Mnuchin, sold for $85.8 million at Sotheby’s New York, becoming the second-highest price ever achieved for the artist at auction. The work, estimated at $70–100 million, was part of an 11-lot sale dedicated to Mnuchin’s collection, which also includes works by Willem de Kooning, Pablo Picasso, and Franz Kline. A phone bidder won the painting, with Helena Newman, chairman of Sotheby’s Europe, handling the bid.

What Does a Booth Cost at a New York Art Fair?

Hyperallergic surveyed 13 New York art fairs about their booth pricing, revealing a wide range of costs from $3,500 at NADA Projects to over $105,000 for large booths at Frieze. The article details specific pricing tiers at Frieze ($31,977–$105,717), NADA ($3,500–$11,000), and Independent ($110 per square foot), noting that Frieze has kept 2025 prices for its 2026 edition and that NADA's costs have remained stable since 2022. The investigation also highlights the debut of the Sherman Family Foundation Acquisition Fund at Frieze and the partnership between Independent and the Henry Street Settlement.

Sophia Rivera’s Mythology of Everyday New York

The article reviews "Sophie Rivera: Double Exposures" at El Museo del Barrio, the first survey of the late Nuyorican photographer Sophie Rivera, who died in 2021. The exhibition spans her career, including her feminist conceptual series "Rouge et Noir" and "Bowl Study" (c. 1976–78), which depict intimate bodily waste like used tampons and feces, and her socially engaged "Latino Portraits" series from the late 1970s, which countered negative media stereotypes of Puerto Ricans with affectionate, mythologizing portraits. The review highlights a moment where the critic misidentifies abstract toilet photographs as pinhole or double exposures before learning their true subject.

New York Art Week Will Test the Market’s Momentum

New York Art Week is set to test the art market's momentum with half a dozen fairs and major auctions. Frieze New York opens at the Shed on May 13 with 68 galleries, while Sotheby's leads auction sales starting May 14, featuring a Mark Rothko painting estimated at $70–$100 million from Robert Mnuchin's collection. The total low estimate for Sotheby's week is $690.4 million, roughly 70% higher than last year's hammer total. Alternative fair Esther, co-founded by Margot Samel and Olga Temnikova, kicks off May 12 at the Estonian House for its third and final edition, emphasizing intentionality and community over scale.

Remembering Georg Baselitz, Nicole Hollander, and Doris Fisher

Hyperallergic's weekly 'In Memoriam' column honors seven figures from the art world who recently passed away, including German Neo-Expressionist painter Georg Baselitz, feminist cartoonist Nicole Hollander, and arts patron Doris F. Fisher, co-founder of The Gap. Other notable figures remembered are photographer Stephanie Chernikowski, West Coast assemblage artist George Herms, Spanish artist and designer José María Cruz Novillo, and Bay Area muralist Dan Fontes. The article provides brief biographies and highlights of their contributions to visual art, photography, comics, and public art.

The Carnegie International Looks Back at Itself

The 58th Carnegie International at the Carnegie Museum of Art in Pittsburgh looks back at its own 130-year history, featuring a gallery dedicated to past iterations. The exhibition includes Chris Ofili's "The Adoration of Captain Shit and the Legend of the Black Stars" (1998), which was originally shown in the 53rd International in 1999, the same year Ofili's more notorious "The Holy Virgin Mary" sparked controversy at the Brooklyn Museum. The article reviews how the current iteration captures the excitement of earlier exhibitions while providing commentary on authoritarianism and militarism.

Artists, Read the Fine Print

Artist Damien Davis writes a critical piece on how so-called 'standard' contracts in the art world systematically undermine artists' power, citing long consignment periods, moral rights waivers, and opaque terms that favor institutions. Separately, the Venice Biennale has scrapped its traditional Golden Lion awards after the awards jury resigned; instead, ticket holders will vote on 'Visitor Lions,' with results announced in November, and notably Israel and Russia remain eligible despite the jury's earlier ban. Other news includes damage to a 1,000-year-old Native American archaeological site by construction crews building President Trump's border wall.

Venice, Here We Come

Hyperallergic's newsletter previews the upcoming 61st Venice Biennale, noting the charged political climate that may overshadow the art. It highlights the main exhibition "In Minor Keys" conceived by the late Koyo Kouoh, and includes a guide to national pavilions, collateral events, and notable exhibitions in Venice. The edition also features a studio visit with 93-year-old artist Joan Semmel, an interview with Lebanese artist Tania El Khoury about her "revenge art," and news about Barbara Chase-Riboud declining to represent the US at the Biennale, a $116M gift to the National Gallery of Art, and the death of Argentine painter Ides Kihlen at 108.

Roses and Thorns of Greater New York

The article is a digest of recent art news, with a primary focus on critical reviews of the 2026 "Greater New York" exhibition at MoMA PS1. Hyperallergic's editorial team provides mixed assessments of the works in the massive quinquennial survey of local artists. The piece also covers American-French sculptor Barbara Chase-Riboud's decision to decline an invitation to represent the United States at the 61st Venice Biennale, citing the problematic nature of the pavilion's commissioning entity.

Sarah Lucas Unveils VENUS VICTORIA at the New Museum’s Bowery Plaza

The New Museum has unveiled "VENUS VICTORIA," a new public sculpture by British artist Sarah Lucas, inaugurating the museum's outdoor plaza at the junction of Bowery and Prince Street in downtown Manhattan. The sculpture, which features Lucas's signature Bunny figure seated atop a giant washing machine, was selected by an all-artist jury including Teresita Fernández, Joan Jonas, Julie Mehretu, Cindy Sherman, and Kiki Smith. It opens on May 12, 2026, and will remain on view for two years as the first of five commissions dedicated to public sculpture by women artists.

Watching the Great Form Shatter

Der großen Form beim Zerbrechen zuschauen

Marc Brandenburg, a Berlin-based artist born in 1965, is the subject of a comprehensive survey exhibition titled "20th Century Debris" at the Berlinische Galerie. The show presents his meticulous pencil drawings on paper, which invert light and dark and are viewed under blacklight to create ghostly, dissolving images. Brandenburg's works fragment urban spaces, faces, and everyday objects into shimmering, unstable forms, drawing on photography and photocopying to produce a sense of eerie stillness and motion. The exhibition also includes his first films, tracing his stylistic evolution from early 1990s fragmented portraits to large-scale panoramic works with metallic surfaces.

Überraschende Begegnungen

The ninth edition of the "Various Others" festival in Munich brings together institutions, off-spaces, and galleries for a city-wide series of exhibitions in May. Highlights include Walter Storms Galerie presenting Anselm Reyle's first Munich solo show with Istanbul's Dirimart; Kraupa-Tuskany Zeidler collaborating with Rome's T293 to show Simon Denny's tech-critical works; Max Goelitz pairing Lukas Heerich and Rindon Johnson with Eva Hesse in dialogue with Hauser & Wirth; Lohaus Sominsky and Paris's Mennour featuring Ilit Azoulay and Alicja Kwade; and Rüdiger Schöttle hosting Milena Muzquiz and Elif Saydam. A new parcours exhibition, "Vectors," inspired by Jan Hoet's "Chambres d'Amis," places contemporary art in tech company offices across Munich.

10 Highlights You Shouldn't Miss in Venice

10 Highlights, die Sie in Venedig nicht verpassen sollten

The article presents ten must-see highlights of the 61st Venice Biennale, curated by the editors of Monopol magazine. It covers the main exhibition at the Arsenale, national pavilions, and collateral events, including Sandra Knecht's beehouse installation, Isabel Nolan's Irish Pavilion exploring dreams and late medieval humanism, Chiara Camoni's Italian Pavilion blending ceramics and found materials, and Asim Waqif's bamboo construction in the Indian Pavilion. Other featured works include a church filled with surveillance cameras and the new Fondazione Dries Van Noten.

How Tech Billionaires Turn Couture into Content

Wie Tech-Milliardäre Couture zu Content machen

The Met Gala, long considered the premier event for fashion and cultural influence, has become increasingly dominated by tech billionaires. This year, Jeff Bezos and Lauren Sánchez Bezos purchased their role as co-hosts, sparking protests in New York and raising questions about whether money alone now buys entry into the highest echelons of fashion. Individual tickets cost $10,000 and a table $350,000, with sponsors including OpenAI, Snapchat, and Meta. The event, organized by Anna Wintour to raise funds for the Costume Institute at the Metropolitan Museum of Art, raised $31 million last year but has transformed from a benefit into a spectacle optimized for viral moments and algorithmic appeal.

"Wir wollen Rücknahme von Kürzungen"

Berlin's cultural senator Sarah Wedl-Wilson resigned on Friday after the Berlin Court of Auditors ruled that millions in funding for antisemitism prevention projects were illegal. The resignation has sparked a political debate, with CDU general secretary Ottilie Klein defending governing mayor Kai Wegner against opposition criticism, while Franziska Stoff of the Berlin Culture Conference demands stability and a reversal of budget cuts. Thomas Fehrle, director of the Deutsche Oper Berlin, expressed personal regret over Wedl-Wilson's departure, praising her competence and engagement.

"Etwas zaghaft, etwas ängstlich, etwas sicher"

The article surveys recent art-world commentary, focusing on a critical review of the Turner Prize shortlist in The Guardian, where Eddy Frankel calls the selection "timid, anxious, safe" and laments a self-perpetuating, elitist system. It also covers a Hyperallergic essay by Lisa Siraganian questioning whether artworks can possess personhood, sparked by Pierre Huyghe's Venice exhibition. Additionally, it reports on controversy at the Venice Biennale, where the jury preemptively excluded countries whose leaders are sought by the International Criminal Court—namely Russia and Israel—drawing sharp criticism from Die Welt's Marcus Woeller. A podcast interview with US sculptor Alma Allen, selected for the US Pavilion, rounds out the coverage.

Dubai wants to put on a brave face by announcing a new digital art museum

Dubaï veut donner le change en annonçant un nouveau musée d’art numérique

Dubai has announced plans for a new Museum of Digital Art (MODA), designed by Adrian Smith + Gordon Gill Architecture, the firm behind the Burj Khalifa. The five-story museum will be located in the DIFC Zabeel District and feature permanent and temporary exhibitions, immersive experiences, educational spaces, and a digital twin for global access. The announcement comes amid regional turmoil, including Iranian missile and drone strikes on the UAE in March 2025 that damaged infrastructure, disrupted tourism, and reduced the 20th edition of Art Dubai from 120 galleries to just 50 stands.

Orsay inaugure une salle destinée aux œuvres « MNR »

The Musée d'Orsay in Paris has opened a new dedicated gallery, Room 10b, to display works from its MNR (Musées nationaux Récupération) collection—artworks looted or acquired under dubious circumstances during the Nazi era. The room features detailed labels and educational texts, with some works shown verso to reveal provenance labels. The initiative is funded by the American Friends of the Musée d'Orsay and the Musée de l'Orangerie with €1 million over four years, and includes a fake Monet, a Degas subject to a restitution claim, a Rodin sculpture, and a debated Cézanne. The museum's provenance research team, led by Inès Rotermund-Reynard, collaborates with the French Ministry of Culture's M2RS mission.

La galerie contemporaine de la cathédrale d’Angers plaît

The article reports that the contemporary art gallery at the Cathedral of Angers has been well received. It highlights the cathedral's new exhibition space dedicated to contemporary works, marking a notable integration of modern art within a historic religious site.

Au Louvre, l’ambitieuse restauration du cycle de Marie de Médicis

The Louvre Museum in Paris is undertaking an ambitious restoration of Peter Paul Rubens's monumental cycle of 24 paintings depicting the life of Marie de Médicis. The project, which will take four years and cost €4 million funded by the Société des Amis du Louvre, begins this autumn with the paintings being restored in situ in the Médicis Gallery. The gallery will close in May to prepare the space as a restoration workshop, where two teams of 10–15 restorers will work simultaneously on cleaning, relining, and filling gaps. The last major restoration of the cycle dates to the 1950s, and recent diagnostics revealed yellowed varnish, discordant repaints, and flaking paint layers that risk irreversible loss.

Maximilien Durand renouvelé au Louvre

Maximilien Durand has been reappointed to a leadership role at the Louvre Museum in Paris. The announcement was made in the May 2026 issue of Le Journal des Arts, though specific details of his new position or term were not provided in the available text.

Venice Art Biennale: The Time of Nuances

Biennale d’art de Venise : le temps des nuances

The 61st Venice Biennale, titled "In Minor Keys," opened under the artistic direction of the late Swiss-Cameroonian curator Koyo Kouoh. The exhibition features 111 artists and collectives, presenting a more subdued, poetic, and experiential approach compared to the previous edition's explicit decolonial program. It navigates contemporary political tensions, including the participation of Israel and the reopening of the Russian pavilion, while aiming for a radical return to art's own environment and its place in society.

À New York, le Metropolitan Museum of Art absorbe la Neue Galerie et sa collection de Klimt, Schiele, Kokoschka…

On May 14, the Metropolitan Museum of Art and the Neue Galerie in New York announced a historic merger set for 2028. The Neue Galerie, founded in 2001 by billionaire Ronald Lauder in a Fifth Avenue mansion, will become part of the Met under the name The Met Ronald S. Lauder Neue Galerie, modeled after the Met's Cloisters. The transfer includes the historic building and a collection of 600 works valued at over $1.5 billion, featuring artists such as Gustav Klimt, Egon Schiele, Ludwig Kirchner, Max Beckmann, and Oskar Kokoschka. Lauder and his daughter Aerin Lauder Zinterhofer are also donating thirteen works from their personal collection, and a $200 million endowment fund has been established.

In 1955, Calder brings his famous 'Cirque' to life in front of Jean Painlevé's camera

En 1955, Calder active son célèbre « Cirque » face à la caméra de Jean Painlevé

A 1955 film by Jean Painlevé captures Alexander Calder performing his famous "Cirque" (Circus), a handmade miniature circus he created between 1926 and 1931 in Paris. The film shows Calder manipulating fragile wire-and-wood figures—weightlifters, trapeze artists, clowns, and dancers—while a gramophone plays. The work, now preserved at the Whitney Museum of New York, is on loan for a major Calder retrospective at the Fondation Louis Vuitton in Paris (April 15–August 16, 2026). Painlevé's film is also the subject of a concurrent exhibition at the Musée de Pont-Aven (February 7–May 31, 2026).

Sheila Hicks en 2 minutes

Sheila Hicks, the American textile artist born in 1934, is profiled in a concise overview of her career. The article traces her journey from studying under Josef Albers at Yale and learning weaving from Andean artisans in Chile, to establishing her studio in Mexico and later Paris. It highlights her monumental commissions for hotels, embassies, and public spaces, as well as her intimate "Minimes" works. Key milestones include her 2014 piece "Pillar of Inquiry/Supple Column" at the Whitney Biennial, her 2017 installation at the Venice Biennale, and a major retrospective at the Centre Pompidou in 2018.

« La Boule » de Villeroy & Boch : l’art explosif et pop du pique-nique

Villeroy & Boch, the historic German porcelain manufacturer founded in 1748, launched "La Boule" ("Die Kugel") in 1971—a stackable 19-piece porcelain dinner service for four that compacts into a colorful decorative sphere. Designed by Helen von Boch, the eighth-generation family director, the set was part of a pop-design wave and came in original color variants that have since become collectors' items. The article also highlights related designs like the "La Bomba" picnic cutlery set (1968) and melamine set (1972), both held by MoMA, and notes Villeroy & Boch's collaborations with artists such as Keith Haring, Paloma Picasso, and Luigi Colani.

Venice Biennale 2026: What are the major trends that will mark the 99 national pavilions?

Biennale de Venise 2026 : quelles sont les grandes tendances qui vont marquer les 99 pavillons nationaux ?

The article previews the 2026 Venice Biennale, highlighting key trends across its 99 national pavilions. Major themes include the hybridization of theater, dance, and performance, particularly in pavilions from Austria, Luxembourg, Belgium, and Lithuania, where artists like Florentina Holzinger, Aline Bouvy, Miet Warlop, and Eglė Budvytytė use radical, body-centric works. Geopolitical engagement is also central, with the Ukrainian pavilion featuring Zhanna Kadyrova's work on resistance and the British pavilion exploring themes of exile and migration. Other notable pavilions include Spain's focus on imagery, a sound installation for the Vatican, a polyphonic piece for Romania, and a film on sign language song for Poland.

Martin Schongauer in 2 Minutes

Martin Schongauer en 2 minutes

Martin Schongauer (c. 1445–1491), the Alsatian painter, draftsman, and engraver, is celebrated as the greatest German copperplate engraver before Albrecht Dürer and one of the first artists to achieve pan-European fame in his lifetime. The article outlines his life and career, from his early training in his father's goldsmith workshop in Colmar to his studies at the University of Leipzig and travels through Flanders, where he absorbed the influence of Rogier van der Weyden and Dirk Bouts. It highlights his 116 copper engravings, signed with the monogram 'M+S', which elevated engraving to a high art and circulated from Spain to Bohemia, inspiring Dürer and the young Michelangelo. Key works discussed include the painting 'La Vierge au buisson de roses' (1473) and the engraving 'La Tentation de saint Antoine' (c. 1470–1475).

Ces 5 créatrices « inoubliables » à découvrir absolument à Gand

The Museum of Fine Arts (MSK) in Ghent is hosting the exhibition "Inoubliables" (Unforgettables), on view until May 31, which highlights the work of women artists from the 17th and 18th centuries in the former Netherlands region. The show features about 40 female creators active between 1600 and 1750, including painters like Michaelina Wautier, Judith Leyster, and Rachel Ruysch, working in genres from portraiture and still life to engraving, lacemaking, and paper cutting. The exhibition aims to restore these women to their rightful place in art history.

Rothko Sells for $85.8 Million, Almost Surpasses Auction Record

Sotheby’s New York sold Mark Rothko’s painting *Brown and Blacks in Reds* (1957) for $85.8 million on Thursday, making it the second-highest price ever achieved for the artist at auction. The work, part of Rothko’s postwar Color Field series, was offered from the private collection of the late art dealer Robert Mnuchin, whose estate also included works by Willem de Kooning. The Mnuchin sale totaled $166.3 million, with de Kooning’s *Untitled* (1970) fetching $8.8 million and *Untitled XLII* (1983) reaching $10.2 million. Bidding lasted about four minutes, with the winning bid placed via phone with Helena Newman, chairman of Sotheby’s Europe.