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.
Blank Forms celebrated its ninth anniversary with performances by Dez Andrés, Douglas Sherman, and 7038634357 at the Ukrainian National Home in the East Village. The article, written by Ruba Katrib and Lawrence Kumpf, offers a personal glimpse into their New York apartment, filled with books, records, art from friends, and a curated sound system, alongside recipes and anecdotes about hosting artists, musicians, and curators for dinners and listening sessions.
Cultured magazine highlights several fall gallery shows in Los Angeles, featuring solo exhibitions by Mire Lee at Sprüth Magers, Rebecca Morris at Regen Projects, Lukas Geronimas at Parker Gallery, Christina Kimeze at Hauser & Wirth, and Herman Cherry at Sebastian Gladstone. The shows run through October and November 2025, showcasing a range of media from Lee's industrial paintings and Morris's abstract compositions to Geronimas's architectural sculptures, Kimeze's mystical figurative works, and Cherry's abstract expressionist paintings.
Dartmouth College students have reignited a campaign to rename the Black Family Visual Arts Center, a campus facility funded by billionaire investor Leon Black. The movement, led by freshman Oscar Rempe-Hiam and supported by student government, criticizes the administration's lack of urgency in distancing the institution from Black, whose long-standing ties to Jeffrey Epstein and personal allegations of sexual misconduct have sparked years of controversy.
The selection of Alma Allen to represent the United States at the 2026 Venice Biennale has ignited controversy over the process. The U.S. State Department abandoned its traditional selection model, which involved a panel of experts convened by the National Endowment for the Arts, and instead handed control to a new nonprofit, the American Arts Conservancy, led by individuals with little museum experience. This shift has drawn criticism from prominent figures in the art world, with some artists declining to participate due to concerns over the political context and unfamiliar leadership.
Jennifer Gilbert, the Detroit-based entrepreneur and philanthropist, is auctioning a selection of Modernist masterpieces from her private collection to fund Lumana, a new nonprofit arts organization. The sales, scheduled for May and June at Sotheby’s New York, include high-profile works by Joan Mitchell and Kenneth Noland, with an overall fundraising goal exceeding $10 million.
The Obama Presidential Center in Chicago has unveiled its final cohort of artist commissions ahead of its scheduled opening in June. This group includes high-profile contemporary artists such as Njideka Akunyili Crosby, Jeffrey Gibson, and Lorna Simpson, who will contribute site-specific works ranging from a multi-layered portrait of the Obamas to a 34-foot stainless steel sculpture by Martin Puryear honoring the late John Lewis. These eight artists join a previously announced roster, bringing the total number of new commissions for the 19.3-acre South Side campus to 30.
The Pritzker Architecture Prize has issued a formal statement defending its selection process following the release of legal documents detailing past ties between foundation director Tom Pritzker and Jeffrey Epstein. The Hyatt Foundation, which sponsors the prestigious award, emphasized that its jury operates with complete independence and remains focused on architectural excellence despite the controversy surrounding Pritzker’s previous association with the disgraced financier.
François-Xavier Lalanne’s copper sculpture-bar 'Hippopotame Bar' sold for $31.4 million at Sotheby’s in New York, more than tripling its $7–10 million estimate after a 26-minute bidding war among seven bidders. The work, commissioned in 1976 by patron Anne Schlumberger and unique in its copper execution, set a new auction record for the artist and became the most expensive work of design ever sold at auction. The sale capped a year of strong performance for Lalanne’s hybrid animal-furniture works, which have consistently outperformed expectations even in a tougher art market.
Newly released Epstein files, shared on the House Oversight Committee website, reveal direct email exchanges between artist Andres Serrano and convicted pedophile Jeffrey Epstein. In an October 2016 email, Serrano discussed voting for Donald Trump as a sympathy vote due to disgust over the outrage at Trump's sexist comments. Epstein responded briefly, and Serrano mentioned his exhibition "Torture" in Ireland. The pair had a prior acquaintance in the 1990s, and in 2018 they agreed to a trade: Serrano would photograph Epstein in exchange for a statue.
Newly released emails from Jeffrey Epstein, published by House Republicans, show the disgraced financier discussing Leonardo da Vinci's *Salvator Mundi* with journalist Michael Wolff. In a May 2019 exchange, Epstein referenced the $450.3 million painting—the most expensive artwork ever sold at auction—and suggested its sale was linked to a real estate deal involving a Russian billionaire and Saudi Crown Prince Mohammed bin Salman. Epstein also mentioned that his "art guy" thought the painting wasn't very good.
Filming has begun on the long-awaited Jean-Michel Basquiat biopic *Samo Lives* in New York City's East Village, specifically around Tompkins Square Park. Directed by Julius Onah and starring Kelvin Harrison Jr. as Basquiat, the film was first announced in January 2022 but faced delays. Grainy photos from local blog EV Grieve suggest an actor has been cast to play Andy Warhol, Basquiat's friend and collaborator. The production is shooting in the neighborhood where Basquiat once lived and worked, including his former studio at 57 Great Jones Street.
Carter Reese, a 77-year-old former teacher and college admissions consultant from Reading, Pennsylvania, was sentenced to 60 days in prison, two years of supervised release, a $50,000 fine, and $186,125 in restitution for selling forged artworks attributed to Pablo Picasso, Andy Warhol, and Joan Miró. Reese pleaded guilty to wire fraud and mail fraud in May, admitting that from 2019 to 2021 he sold or attempted to sell counterfeit pieces using false affidavits and signatures, and claimed he acquired them from a supplier using the pseudonym 'Ken James'—who had previously been convicted for selling $1 million in fake art.
Jeffrey Deitch, former dealer and ex-director of MOCA LA, has partnered with property developer Thor Equities to create "Coney Art Walls," a summertime display of street art murals on concrete slabs in Coney Island, New York. Located on a vacant lot at 1320 Bowery Street owned by Thor Equities, the project features works by over a dozen artists including Lady Pink, Daze, Lee Quiñones, Swoon, and Mister Cartoon, and shares space with Smorgasburg, a food and drink pop-up village. The article criticizes the venture as a real estate marketing ploy rather than a genuine art exhibition.
Jeffrey Deitch, the New York dealer and former director of the Los Angeles Museum of Contemporary Art, is co-curating a new street art project called "Coney Art Walls" in Brooklyn with real-estate developer Joseph Sitt of Thor Equities. The project features murals by prominent graffiti and street artists including Crash, Daze, Lady Pink, How & Nosm, Lee Quinones, Futura, Kenny Scharf, Miss Van, Swoon, and Icy Signs, and will accompany a Smorgasburg Coney Island pop-up with 12 food vendors. Photos show the artists hard at work as the project rapidly takes shape.
Jeffrey Deitch is co-curating a street art exhibition in Coney Island this summer with Joseph Sitt, head of real estate developer Thor Equities. The show features artists including Crash, Lee Quinones, Futura, Kenny Scharf, Miss Van, Lady Pink, Swoon, and Icy Signs, and will debut alongside Smorgasburg Coney Island with 12 food vendors and live music. Deitch previously organized the controversial 2011 exhibition "Art in the Streets" at the Los Angeles Museum of Contemporary Art, which drew large crowds but faced criticism for prioritizing entertainment over scholarship, and included the censorship of a mural by Blu.
The United States has not yet announced its pavilion for the 2026 Venice Biennale, but a controversial proposal has emerged from far-right blogger Curtis Yarvin, who pitched a "dissident-right art hos" pavilion to Under Secretary for Public Diplomacy Darren Beattie in April 2025. The proposal, reported by the New Yorker, comes amid a delayed application process and changes to the pavilion's guidelines, which now emphasize a "non-political character" and remove previous language about diversity. The application deadline is July 30, with a $375,000 grant awarded by September, leaving an unusually short timeline for production.
Anish Kapoor has called for the United States to be excluded from the Venice Biennale, citing the country's "abhorrent politics of hate" and "incessant warmongering." His comments follow the resignation of the five-member international jury, who stepped down in protest over the inclusion of Israel and Russia. Kapoor praised the jury's decision as "courageous" but argued they should have also targeted the US. The US pavilion, featuring artist Alma Allen and his exhibition "Call Me the Breeze," has faced scrutiny over perceived Trump administration interference and a delayed selection process. Meanwhile, the Israeli and Russian pavilions remain flashpoints, with over 200 participants signing a letter demanding the cancellation of the Israeli pavilion, and the Russian pavilion closed to the public but viewable through windows.
The article presents a curated collection of 33 photographs deemed to have caused public scandal, ranging from political and royal controversies to celebrity missteps and historical moments of defiance. It analyzes how these images, from Prince Andrew with Virginia Giuffre to Lee Miller in Hitler's bathtub, have exposed hidden truths, shattered carefully managed public images, and sometimes altered public perception or the course of events.
This article surveys the visual arts scene in Westchester County, New York, highlighting museums, galleries, public displays, and artist profiles north of Manhattan. It features institutions such as the Neuberger Museum of Art, ArtsWestchester, Hammond Museum & Japanese Stroll Garden, Hudson River Museum, and Hudson Valley MOCA, noting specific exhibitions like "Smoke in Our Hair: Native Memory and Unsettled Time" and "Bill Viola: Moving Stillness." The piece emphasizes that Westchester offers a vibrant, bucolic alternative to New York City's art scene, with historic estates and contemporary spaces showcasing both established and emerging artists.
The Frist Art Museum is presenting a new exhibition that spans 100 years of contemporary Indigenous art, featuring works from both established elders and emerging makers. The show aims to highlight the continuity and evolution of Indigenous artistic practices across generations.
The Brooklyn Museum is presenting "Red Grooms, Mimi Gross, and The Ruckus Construction Co.: Excerpts from 'Ruckus Manhattan'," a focused exhibition drawn from the original 1976 installation "Ruckus Manhattan." The show, on view from June 13, 2025 to June 5, 2026, marks the first time in over 30 years that elements of this sprawling, 6,400-square-foot "sculptural comic book" are being publicly displayed. Created by artists Red Grooms and Mimi Gross with their collaborative team, the original work satirized 1970s New York City through a vibrant mix of painting, sculpture, performance, and puppetry. Key pieces on view include "Dame of the Narrows" (returning for the first time since 1994) and "42nd Street Porno Bookstore," both offering a playful yet critical look at urban life.
U.S. artist Alma Allen, a self-taught sculptor from Utah who works in Mexico, has been selected to represent the United States at the Venice Biennale with his exhibition "Call Me the Breeze" at the U.S. Pavilion. The selection process was fraught and opaque, with institutions declining to bid for the commission due to concerns about administration politics after the open call removed diversity, equity and inclusion language in favor of promoting "American values." A prior proposal for artist Robert Lazzarini fell apart after its institutional sponsor backed out, and Allen's project was quickly assembled with the American Arts Conservancy as sponsor and Jeffrey Uslip as curator. Allen, who has lived outside the critical art world for three decades, created a bronze evil eye for the pavilion's exterior and a headless sheep sculpture as a self-portrait of an outsider.
The article previews the 61st Venice Biennale, opening May 9 and running through November 22, highlighting early controversies. The five-person Golden Lion jury, led by Brazilian curator Solange Farkas, resigned after declaring they would not consider pavilions from countries under International Criminal Court investigation, targeting the Israel pavilion and its artist Belu-Simion Fainaru. Separately, the US pavilion has drawn scrutiny from the New York Times over its selection process, with commissioner Jenni Parido (a former pet food store owner) tapping curator Jeffrey Uslip and sculptor Alma Allen, bypassing traditional funders like the Ford and Mellon foundations.
On Indigenous Peoples' Day, nonprofit media lab Amplifier launched an unsanctioned augmented reality exhibition titled “Encoded” at New York's Metropolitan Museum of Art. The project features 17 Native artists who have digitally altered 25 iconic American artworks from the Met's collection—such as Thomas Cole's *View on the Catskills – Early Autumn* and Emanuel Leutze's *Washington Crossing the Delaware*—overlaying Indigenous perspectives onto the museum's American Wing. Visitors can view the AR works on smartphones or iPads, and Amplifier representatives are on-site to distribute guides and offer tours through the end of the year.
Amanda Precourt, a 52-year-old philanthropist and real estate developer, has transformed a former fortune cookie factory in Denver's Baker neighborhood into a combined private residence and public art space called Cookie Factory. Over the past nine years, she has amassed a contemporary art collection at a rapid pace, designing her 8,000-square-foot home around specific works—such as Anselm Kiefer's monumental painting *Engel der Geschichte* (2017) and Jeffrey Gibson's beaded punching bag *Know Your Magic, Baby* (2016). The lower 5,700 square feet of the building serves as a free, self-funded public gallery, where Precourt, her partner Andrew Jensdotter, and artistic director Jérôme Sans invite artists to create site-specific works inspired by Colorado. The space opened last May with an exhibition by Sam Falls, and a second show featuring Gary Simmons runs through May 9.
Artist Sam McKinniss, known for his internet-sourced celebrity portraits exploring fandom and parasocial relationships, is opening a new exhibition titled “Law and Order” at Jeffrey Deitch gallery in New York on September 6. The show shifts focus to figures of crime and justice, including “Hot Felon” Jeremy Meeks, Luigi Mangione, art dealer Mary Boone (as portrayed by Parker Posey in the 1996 film *Basquiat*), and a painting of Alcatraz, the former prison that President Donald Trump has proposed reopening. McKinniss describes the work as tracing the parameters of a top-down worldview in an era of new tyrannies. In an interview with CULTURED, he discusses his studio routine, creative influences like Martha Argerich, and the informal group chat that first sees his works-in-progress.
Woody De Othello's first major solo public exhibition in New York, titled "Guardian Spirit," has opened at Brooklyn Bridge Park, presented by Public Art Fund. The exhibition features monumental redwood totems standing 20 to 22 feet tall, carved with chainsaws and grinders, alongside bronze sculptures created between 2021 and 2025. The works explore themes of ritual, spirituality, and the elemental forces of wind and water, drawing inspiration from nkisi, ritual objects from Western and Central Africa. The exhibition runs from May 5, 2026, to March 8, 2027, with sculptures installed at Pier 1 and the Manhattan Bridge View.
The United States Pavilion will open at the 61st International Art Exhibition of La Biennale di Venezia with a landmark solo presentation by artist Alma Allen, titled "Call Me the Breeze." The exhibition marks the first time the U.S. Pavilion has dedicated its space to a single artist in this context, highlighting Allen's sculptural work that blends organic forms with industrial materials.
The United States Pavilion at the 61st International Art Exhibition of La Biennale di Venezia will open on May 6, 2026, featuring a solo presentation titled "Call Me the Breeze" by American artist Alma Allen. Curated by Jeffrey Uslip and commissioned by the American Arts Conservancy with support from the U.S. Department of State and the Guggenheim Foundation, the exhibition transforms the historic Giardini pavilion with sculptures in bronze, walnut burl, and various stones, including Colorado Yule marble used in the Lincoln Memorial.