Spring 2026 Exhibitions Opening Celebration

The Wexner Center for the Arts at Ohio State University has announced its Spring 2026 exhibitions lineup, featuring works by Vitória Cribb, Ximena Garrido-Lecca, Eric N. Mack, Hew Locke, and Naeem Mohaiemen. Highlights include Cribb's 'echoes of a wet finger,' commissioned by Sharjah Art Biennial 16 and Mercosul Biennial 14, and solo presentations by Garrido-Lecca, Mack, and Locke, as well as Mohaiemen's film and video works. The season is supported by a range of funders including the American Electric Power Foundation, the Mellon Foundation, and the National Endowment for the Arts.

Explore the Studio Museum in Harlem’s Legacy of Artistic Innovation and Impact Through These Archival Gems

The Studio Museum in Harlem reopened its newly renovated space in Harlem on November 15, 2025, marking a new chapter for the 57-year-old institution. The article highlights archival gems from the museum's history, including the 1969 exhibition "Harlem Artists 69," which featured over 100 works by 53 local Black artists, and the long-running Artist-in-Residence program launched in 1969. These moments underscore the museum's role in championing Black artistic innovation and community engagement, supported by partnerships with Columbia University and local nonprofits.

At Art Basel Miami Beach, a new space reimagines art in the digital age

Art Basel Miami Beach will debut a new curated space called Zero 10, dedicated to digital and new media art, at its upcoming fair in the Miami Beach Convention Center. The centerpiece is an interactive installation by American artist Beeple featuring robot dogs with human heads modeled after public figures like Andy Warhol, Jeff Bezos, and Elon Musk, which will photograph fairgoers and offer NFTs. The space, curated by Eli Scheinman, includes works by pioneers such as Manfred Mohr and Larva Labs, alongside galleries like Pace Gallery and platforms like Art Blocks, exploring themes of AI, robotics, and generative systems. The name references Kazimir Malevich's 1915 exhibition '0,10', signaling a push into new artistic terrain.

New documentary gives E.J. Hughes, painter of lyrical Canadian landscapes, his due

A new documentary titled *The Painted Life of E.J. Hughes*, directed by Vancouver filmmaker Jenn Strom, premieres at the Vancouver International Film Festival. The film explores the personal and professional life of the reclusive Canadian landscape painter E.J. Hughes (1913-2007), known for his dreamlike depictions of British Columbia's coastal life. It features interviews with art historians, curators, and locals, and includes footage of major works, such as *Entrance to Howe Sound* (1949), which is set for auction at Heffel with an estimate of C$1.25m–C$1.75m. The documentary was inspired by books by artist-author Robert Amos and took several years to complete due to the pandemic.

13 Art Exhibitions You Don’t Want To Miss This Fall

This fall, galleries and museums across the United States are presenting a series of exhibitions centered on Black life, ranging from historic pioneers to contemporary voices. Highlights include Athi-Patra Ruga's immersive installation 'Lord, I gotta keep on (movin')' at the Leslie-Lohman Museum of Art, which imagines a queer Black nation called Azania; 'Edmonia Lewis: Indelible Impressions' at Stanford's Cantor Arts Center, showcasing the 19th-century sculptor's Neoclassical works; and 'Data Consciousness: Reframing Blackness in Contemporary Print' in New York, inspired by W. E. B. Du Bois's data visualizations. Other notable shows include 'A Taste of Beauty' at the Crocker Art Museum, featuring carved African spoons, and the reopening of the Studio Museum in Harlem, alongside the global energy of Art Basel Miami Beach.

‘It was absolutely terrifying’: Thom Yorke on his long journey back to becoming a visual artist

Thom Yorke, the Radiohead frontman, reflects on his journey back to visual art in an exclusive interview with The Art Newspaper. Having left art school in the late 1980s, Yorke felt resistant to calling himself a visual artist, a discomfort compounded by his music career. He and his bandmate Stanley Donwood, whom he met at Exeter University, are now opening their first institutional exhibition, "This is What You Get," at the Ashmolean Museum in Oxford. The show spans 30 years of record covers, sketchbooks, and recent paintings, marking a significant return to Yorke's artistic roots.

“Dyke is our armor:” A conversation with dyke artist Sarah-Joy Ford’s about her new exhibition Dykeland (2025)

Dr. Sarah-Joy Ford, an artist and independent scholar based in Todmorden, West Yorkshire, has opened her exhibition "Dykeland: Volume 1" at The Whitaker Museum & Art Gallery in Rossendale on June 7, 2025. The show explores the history of dyke and lesbian landscapes in the UK, focusing on queer relationality to placemaking and preservation. It interweaves historical material, personal memory, and fantasy in response to Jane Cambell's upcoming poetry collection "Dykeland and other secret islands," and is displayed alongside Cambell's art. Ford uses quiltmaking as a medium to share lesbian and queer archival material, continuing a tradition of queer fabric art that includes recent installations like the ACLU's 258-square-quilt display on the National Mall and the Euphoria Quilt by Eliot Anderberg.

Guest Artists Space Foundation announces ambitious 2025–26 programme exploring African art archives

Guest Artists Space (G.A.S.) Foundation and Yinka Shonibare Foundation have announced the 2025–26 edition of 'Re:assemblages', a programme focused on African and Afro-diasporic archives as sites for artistic inquiry and decolonial practice. Curated by Naima Hassan with contributions from Maryam Kazeem, Ann Marie Peña, and Jonn Gale, the initiative includes international convenings, symposia, fellowships, and micro-publications, anchored by a two-day symposium in Lagos during Lagos Art Week (4–5 November 2025). The programme draws on the Picton Archive at G.A.S.'s Lagos campus and is supported by the Terra Foundation for American Art, featuring four curatorial themes: Ecotones, The Short Century, Annotations, and The Living Archive. It also launches the African Arts Libraries Lab (AAL Lab), a pan-African network of libraries and publishers across Lagos, Dakar, Marrakesh, Cairo, Nairobi, Cape Town, and Limbe.

Melbourne exhibition celebrates the long overlooked contributions of Indigenous Australian artists

An exhibition titled "65,000 Years: A Short History of Australian Art" opens at Melbourne University’s Potter Museum of Art on 30 May, celebrating the long-overlooked contributions of Indigenous Australian artists. Co-curated by Judith Ryan and Marcia Langton, the show argues that Indigenous art dates back millennia before European settlement but was only recognized as fine art from the 1980s, having been previously confined to ethnographic categories. It highlights frontier artists like Tommy McRae, William Barak, and Mickey of Ulladulla, as well as contemporary photographers Ricky Maynard, Naomi Hobson, and Destiny Deacon, while addressing the link between racist policies and the denial of Indigenous art's value.

Philadelphia’s “Cardboard Genius” Takes Center Stage in a New Exhibition

A new exhibition titled "Cardboard Genius: The Architectural Marvels of Kambel Smith" has opened at Historic Germantown in Philadelphia, running through June 29. The show features large-scale, intricate replicas of architecturally significant buildings—such as Philadelphia's Police Administration Building and the Georgia State House—all constructed from salvaged cardboard by self-taught artist Kambel Smith, who is autistic. Smith's father, Lonnie, coined the term "Autisarians" to describe his sons' super-human abilities and has been a key supporter of Kambel's creative journey, which has included solo shows in New York, London, and Atlanta since 2019.

Extended from one volume to three, the new ‘Taste and the Antique’ expands on four centuries of interactions with sculpture

A new, expanded edition of the seminal art-historical reference work 'Taste and the Antique' has been released, growing from one volume to three. Originally published in 1981 by Francis Haskell and Nicholas Penny, the book traced the reception history of ancient Greek and Roman statues from 1500 to 1900. This updated version features full-color photography of all 95 canonical works, including multiple angles and detail shots, overcoming the original edition's criticized monochrome images. A third volume illustrates copies, prints, casts, and reproductions of the statues across media and centuries, from Renaissance drawings to modern advertisements and photographs.

Why is the art market turning Gulf-wards?

The art market is shifting its focus toward the Gulf region, particularly Saudi Arabia and the United Arab Emirates, following a sharp decline in Chinese luxury goods sales (18–20% drop in 2024) and a 31% slump in Chinese art sales. Auction houses like Sotheby’s and Christie’s have established outposts in Saudi Arabia, with Sotheby’s first auction in Diriyah generating $17.3 million and attracting 35% new buyers. The UAE’s tax-haven status and lack of sanctions on Russians have drawn wealthy residents, while Saudi Arabia’s Vision 2030 campaign, led by Mohammed bin Salman, is pouring money into cultural projects such as AlUla, Art Week Riyadh, the Islamic Arts Biennale, and a new teamLab Borderless museum in Jeddah.

Could 17th-century Italy provide a useful model for today’s challenging art market?

An exhibition at Nicholas Hall Gallery in New York, titled "Beyond the Fringe," explores the understudied early art market of 17th-century Italy, featuring 30 works on loan from public and private collections. The show highlights how barbers, tailors, innkeepers, and other tradespeople became part-time art dealers, while a decentralized network of collectors and middlemen emerged alongside foreign artists in Rome, such as the Bentvueghels, who produced new genres like landscape and genre scenes. The exhibition and its catalogue, with new research by art historians Patrizia Cavazzini and Caterina Volpi, trace the rise of art as an alternative asset class independent of traditional aristocratic and ecclesiastical patronage.

Left at the altar: Luc Tuymans's paintings to replace Tintoretto works at Venetian church

Belgian artist Luc Tuymans has created two new paintings, "Heat" and "Musicians" (2025), for the altar of the Abbey of San Giorgio Maggiore, a 16th-century church on a Venetian island. The works temporarily replace two canvases by Jacopo Tintoretto—"The Last Supper" and "The People of Israel in the Desert"—which are undergoing restoration funded by the Save Venice conservation charity. The commission was organized by Benedicti Claustra Onlus and the Draiflessen Collection, and the paintings will be on view from May 9 to November 23.

Turner vs Constable: is it time for art historians to choose?

Art historian and author James Hall, writing in The Art Newspaper, reviews Nicola Moorby's new book "Turner and Constable: Art, Life, Landscape" and uses it as a springboard to argue that art historians should not shy away from making value judgments about artists. He compares the legacies of J.M.W. Turner and John Constable, noting that Turner currently dominates popular and institutional esteem—appearing on banknotes, celebrated by Tate Britain as the greatest British artist, and fitting modern conceptions of the artist as a rebellious, eccentric genius. Hall contrasts this with Constable's more conservative image and declining presence in commercial culture.

HommeGirls’s First Store Brings a Streetwear-Chic Slant to Chinatown

HommeGirls has opened its first brick-and-mortar store in New York's Chinatown, a 250-square-foot space designed by Rafael de Cárdenas. The shop features an operational dry cleaner's rack rotating above a Portaluppi-style marble floor, floor-to-ceiling mirrors, and a vintage Italian valet stand, reflecting the label's blend of discipline and disorder. The article also covers Miya Ando's solo show at Saint Laurent Rive Droite Los Angeles, Flamingo Estate's new candle inspired by a New York holiday, and the Met's upcoming "Sargent and Paris" exhibition.

Dozens of Venice Biennale Artists Demand Israel’s Exclusion

A coalition of 182 artists, curators, and art workers participating in the 2026 Venice Biennale, organized under the Art Not Genocide Alliance (ANGA), formally delivered a letter demanding the exclusion of Israel from the exhibition. The signatories, including prominent artists like Yto Barrada, Alfredo Jaar, and Miet Warlop, argue that the Biennale must not normalize Israeli policies towards Palestinians.

Major Corporate Sponsor Withdraws from Sydney Biennale, Citing Alleged Hate Speech

A major corporate sponsor, PwC, has withdrawn from the 25th Sydney Biennale following a police complaint alleging antisemitic hate speech by a participating DJ. The NSW Jewish Board of Deputies filed the complaint against US electronic music producer Zubeyda Muzeyyen (DJ Haram) over comments made during the opening night party, which the Board claims incited hatred against Jewish Australians.

ronnie wood rolling stones prints 50th year

Ronnie Wood, guitarist for the Rolling Stones, has released a new series of artworks titled "Paint It Black" to mark his 50th anniversary with the band. The paintings, which depict Wood and his bandmates Mick Jagger, Keith Richards, and the late Charlie Watts, went on view at Redhouse Gallery in Harrogate, U.K. Signed, personalized prints are available in limited editions of 100, priced at £1,250 each. The release coincides with a reissue of the album "Black and Blue" (1976), Wood's first as an official band member.

The great antique fair of Assisi has half a century of history. The interview

La grande fiera dell’antiquariato di Assisi ha mezzo secolo di storia. L’intervista

AMAB – Assisi Mostra Arte Antiquariato Bastia Umbra, the antique fair founded in Assisi in 1973 and moved to the Umbria Fiere exhibition center in 1989, celebrated its 50th edition in 2025 and will reopen from April 24 to May 3, 2026. The 10-day event features 90 exhibitors and includes special exhibitions marking the 800th anniversary of the death of Saint Francis of Assisi (at Palazzo Collicola in Spoleto and the Galleria Nazionale dell'Umbria in Perugia) and the centenary of the birth of artist Giorgio Ascani, known as Nuvolo, curated by Bruno Corà, as well as a project on costume designer Tita Tegano with costumes from the Renato Bruson collection. Director Emo Antinori Petrini, son of founder Mario, discusses the fair's evolution, its commitment to quality, and its new focus on contemporary art installations and performances.

Azerbaijan Destroys Armenian Holy Mother of God Church in Artsakh

Satellite imagery obtained by Caucasus Heritage Watch (CHW) confirms that the Azerbaijani regime has demolished the Holy Mother of God Church in Stepanakert, the former capital of the Republic of Artsakh (Nagorno-Karabakh). The church, consecrated in 2019 after 12 years of construction, was destroyed within the last eight weeks, as evidenced by Sentinel-2 satellite images from March 3 and April 2. The Artsakh Tourism and Cultural Development Agency announced the destruction on April 21, three days before the 111th anniversary of the Armenian Genocide. This demolition follows a pattern of damage to Armenian religious and cultural sites since the forced displacement of over 130,000 Armenians in September 2023.

A Faceless Mary Magdalene by Artemisia Gentileschi Goes to Auction

Va in asta una Maria Maddalena di Artemisia Gentileschi senza volto

The Viennese auction house Dorotheum has announced the sale of a rare, fragmented painting of Mary Magdalene by the Baroque master Artemisia Gentileschi. Dating from the artist's influential Florentine period (1615–1618), this autograph version of a work held in Palazzo Pitti is notably missing its central element: the head and shoulders of the saint have been physically cut from the canvas. Despite this dramatic mutilation, which experts speculate may have occurred in post-war Berlin, the work is estimated to fetch between €100,000 and €150,000 at the Old Masters auction on April 28, 2026.

Basel Abbas & Ruanne Abou-Rahme: Archivists and Activists

New York- and Ramallah-based Palestinian artists Basel Abbas and Ruanne Abou-Rahme present *Prisoners of Love: Until the Sun of Freedom* (2025), an hour-long four-channel film installation at The Bell/Brown Arts Institute in Providence. The work layers psychedelic imagery of figures in nature with spoken and written testimonies from Palestinians formerly detained by Israeli authorities, exploring themes of incarceration, surveillance, and resistance through fragmented montage and poetic text. The exhibition also includes drawings by Abou-Rahme’s father and printed screenshots of reflections on the genocide in Gaza.

In pictures: a season for newcomers at Art Basel Miami Beach’s Meridians

Yasmil Raymond returns for her second year as curator of Art Basel Miami Beach’s Meridians sector, focusing on showcasing a more diverse group of artists and providing opportunities for newcomers. She highlights several works, including Huang Yong Ping’s political sculpture referencing a US spy plane incident, Stephanie Syjuco’s critique of Western culture through a photography-studio installation, Ward Shelley’s post-truth library, Jesús Rafael Soto’s immersive Pénétrable, Luisa Rabbia’s feminist reimagining of a labor strike painting, and Anne Samat’s woven family portrait made from thrift-store objects.

Rock star’s first art exhibit a bright, brash pop culture provocation at CT gallery

Rob Zombie, the heavy metal musician and filmmaker, is holding his first-ever visual art exhibition, "What Lurks on Channel X?", at the Morrison Gallery in Kent, Connecticut, through November 16. The show features 18 large-scale paintings created between 2012 and 2020, drawing on pop culture, horror, and crime iconography. Zombie briefly studied at the Parsons School of Design before leaving to pursue music and film.

Canadian art museum gets $36m funding boost for expansion from provincial government

The Ontario provincial government has announced a C$50 million ($36 million) investment to expand and modernize the McMichael Canadian Art Collection in Kleinburg, Ontario. This is the first capital investment from the province in 43 years, and it will fund repairs, upgrades, and expansion of the 70-year-old building, increasing capacity for programs and events. The museum, founded in 1966, is Canada's largest publicly funded art museum focused exclusively on Canadian and Indigenous art, housing over 7,000 works including pieces by Tom Thomson, the Group of Seven, and First Nations, Métis, Inuit, and contemporary artists.

National Assembly Unanimously Votes on Law for Restitution of Looted Colonial Works, but with Restrictions

L’Assemblée vote à l’unanimité la loi sur la restitution des œuvres pillées pendant la colonisation, mais avec des restrictions

The French National Assembly has unanimously passed a landmark law establishing a permanent legal framework for the restitution of cultural property looted during the colonial era. Moving away from the previous requirement for case-by-case legislation, the new law allows the government to return artifacts via decree following consultations with scientific and parliamentary commissions. This shift fulfills a long-standing promise to simplify the return of African heritage currently held in French public collections.

1815, a Key Year for the Question of Art Restitution at the Heart of an Enlightening Book

1815, année clé de la question des restitutions d’œuvres d’art au cœur d’un ouvrage éclairant

Art historian Bénédicte Savoy has released a new book, "1815, le temps du retour," which examines the massive wave of art restitutions following the collapse of the Napoleonic Empire. Between 1794 and 1811, French revolutionary and imperial forces seized thousands of artworks and cultural objects from across Europe to fill the Louvre under the guise of creating a universal museum. After Napoleon's defeat in 1815, the subsequent return of these works sparked a global debate involving intellectuals and politicians regarding national identity, cultural property, and the legal status of looted heritage.

Hundreds Protest Israel’s “Genocide Pavilion” at Venice Biennale

On May 6, 2026, the first day of previews at the Venice Biennale, hundreds of pro-Palestine activists led by the Art Not Genocide Alliance (ANGA) blocked the entrance to the Israeli pavilion, demanding its immediate closure. Protesters waved Palestine flags and banners reading "No Artwashing Genocide" and "No Genocide Pavilion at Biennale," chanting accusations of genocide against Israel. The demonstration temporarily shut down access to Belu-Simion Fainaru's exhibition "Rose of Nothingness" for about half an hour. The protest followed a letter signed by over 200 artists urging the Biennale to exclude Israel, which instead moved the pavilion to an alternative location in the Arsenale due to renovations. Separately, Pussy Riot and FEMEN rallied outside the Russian pavilion, which will only open during preview days due to sanctions. Venice cultural workers plan a 24-hour strike on May 8 in solidarity with Palestinians, potentially disrupting the Biennale's schedule.

Victorien Bornéat : « De l’échec de la démocratisation culturelle est né un sentiment d’exclusion »

Victorien Bornéat has published a manifesto arguing that French cultural democratization policy, rooted in André Malraux's vision of making masterworks accessible to all, has failed. He cites budget cuts by regional presidents Laurent Wauquiez and Christelle Morançais, police raids on bookshops like Violette and Co, and statistical studies showing that working-class audiences still do not spontaneously attend theaters, museums, or opera. Bornéat contends that the policy's emphasis on direct confrontation with canonical works ignored the need for cultural codes and institutional literacy, creating an exclusion that politicians now exploit for electoral gain.