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The Van Gogh Museum in Amsterdam has opened an exhibition titled "Van Gogh and the Roulins. Together Again at Last," which reunites 14 of Vincent van Gogh's 23 portraits of the Roulin family, painted during his 15-month stay in the Yellow House in Arles (1888–89). The show features a full-scale recreation of the Yellow House façade, the original chair used by postman Joseph Roulin during sittings, and costumed actors portraying family members. It traveled from the Museum of Fine Arts, Boston, where it drew 280,000 visitors, and includes four additional paintings not shown in Boston, on loan from institutions such as the Stedelijk Museum, Kröller-Müller Museum, Kunst Museum Winterthur, and Museum Folkwang.

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The Metropolitan Museum of Art in New York is hosting "Emily Sargent: Portrait of a Family," its first exhibition of watercolors by Emily Sargent (1857–1936), the younger sister of famed portraitist John Singer Sargent. The works were rediscovered after a forgotten trunk of hundreds of paintings was found in storage by relatives, and in 2022, the family donated 26 pieces across seven museums in the U.S. and U.K. The show features about 20 of the Met's received works, rotating delicate pieces midway through its run, and includes a watercolor co-created by Emily and John.

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Louvre staff went on strike again on Monday over understaffing, working conditions, and the museum's $820 million renovation plan, echoing calls for director Laurence des Cars to step down. The walkout forced the museum to close to the public, reopening only a few major attractions like the Mona Lisa, Venus de Milo, and Winged Victory of Samothrace. The strike, originally launched in December, was suspended briefly but resumed after all 350 staff voted unanimously in favor. Unions demand a re-evaluation of the renovation project, dubbed "Nouvelle Renaissance," arguing the high cost is unrealistic and that priorities should shift to urgent technical maintenance.

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Artnet News asked several working artists—Manuel Mathieu, Hanna Salomonsson, Aki Sasamoto, Nigel Hall, Sharmistha Ray, and Miljohn Ruperto—to share the practical and philosophical lessons that sustain their creative practices. Topics include building trust with collaborators, navigating financial uncertainty, setting up shared studio spaces, using recycled materials, maintaining optimism at age 82, reframing rejection, and adapting to the expectation that artists must act as entrepreneurs before their first gallery show.

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Annie Armstrong bids farewell to Artnet Pro's Wet Paint column after 198 editions, reflecting on her four-and-a-half-year tenure as the art world's gossip columnist. She recounts her first assignment at the 2021 Felix Art Fair in Los Angeles, where she nervously approached a group of art-world insiders, and describes the highs and lows of covering galas, parties, and scandals from Frieze Seoul to the Henry Street gallery scene.

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The state of New Mexico has announced a major conservation effort to preserve 6,000 acres of desert landscape that inspired artist Georgia O’Keeffe. The New Mexico Land Conservancy is partnering with the National Ghost Ranch Foundation to implement the Ghost Ranch Conservation Plan, which will protect land, water, and wildlife habitat around Ghost Ranch—where O’Keeffe lived and worked from 1940 until her death. The plan involves conservation easements held in trust for the public benefit, ensuring the area remains undeveloped while allowing continued visitor access to hiking trails, museums, and the retreat center.

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Swiss art dealer Yves Bouvier has filed a motion in federal court in Manhattan to recover 91 artworks valued at an estimated $100 million, which he claims were entrusted to French dealer Pascal de Sarthe. Bouvier is seeking to compel at least 15 banks and two major auction houses—Sotheby's and Christie's—to provide information about the artworks' whereabouts. The legal action, initiated in Hong Kong in October, targets de Sarthe, who disputes Bouvier's ownership. Bouvier alleges that after his long-running legal battle with Russian billionaire Dmitry Rybolovlev, he was blacklisted by auction houses and entered into an oral agreement with de Sarthe and dealer Jean Marc Peretti for custody of the artworks, but de Sarthe has allegedly failed to respond to inquiries. A Hong Kong hearing was held in early October for orders including injunction and preservation.

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Kenny Schachter's column reveals that Jeff Bezos secretly bought Frida Kahlo's 1941 painting *Me and My Parrot* for over $130 million in a private auction hosted by Christie's in 2021, and that Mark Zuckerberg recently purchased René Magritte's 1964 painting *Le fils de l'homme* (The Son of Man) for roughly $150 million in another private treaty sale negotiated by Christie's. The article also discusses a new private auction Christie's is organizing for a major Magritte work valued north of $50 million, and critiques the growing influence of tech billionaires—the "Magnificent 7"—on the art market.

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The author recounts a visit to the Prado in Madrid, where his attempt to photograph a portrait by Alonso Sánchez Coello was blocked by a guard enforcing a strict no-photography policy. This experience leads him to reflect on the evolution of museum mementos, from postcards—which he used to buy and even had his children select as a curatorial exercise—to the role of social media in sharing art. He recalls his time as curator of the Thyssen-Bornemisza Collection, where postcard sales were a key revenue and popularity gauge, and notes that Instagram now serves as a virtual window into exhibitions and art fairs like Art Basel Miami.

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Emma McIntyre, a New Zealand-born painter known for her oxidation technique using rust on canvas, has rapidly ascended in the art world. After earning MFAs in Auckland and Pasadena, she joined mega-gallery David Zwirner in 2024, with additional representation by Château Shatto in Los Angeles and Air de Paris. Her auction record was set at Phillips London in October 2025, with her work "Seven types of ambiguity" selling for $225,100. McIntyre's practice blends material experimentation—including iron oxide pigments and bubble wrap—with references spanning Greek myth to Rococo art.

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Brazilian authorities arrested one suspect after an armed robbery at São Paulo's Mário de Andrade Library on Sunday, where two thieves stole eight Henri Matisse engravings and works by Brazilian painter Candido Portinari. The artworks were displayed in a glass vitrine as part of the exhibition “From the Book to the Museum,” which was set to close November 30. The thieves held up a security guard and a couple, stuffed the items into a canvas bag, and discarded some works near a rubbish heap during their escape, partially captured by facial recognition cameras. The second suspect remains at large, and the library has not disclosed which specific works were taken.

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Elizabeth Browning Jackson, a pioneering artist in the art-furniture movement, was rediscovered in 2021 after a phone call from Stephen Markos, founder of Superhouse Gallery, who had long admired her 1982 sculptural couch "Gloria." Markos urged Jackson to open a barn on her Rhode Island property, where she found her early works—hand-tufted rugs, cut-aluminum furniture, drawings, and prototypes—sealed away for 35 years. This rediscovery culminates at Design Miami 2025, where Superhouse presents Jackson as a foundational voice in the art-furniture movement, alongside contemporaries like Dan Friedman and Wendy Maruyama. Jackson's new exhibition "Re/construct" is also on view at Superhouse's Tribeca space through December 20, featuring reconstructed rugs based on her original 1980s designs.

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Artnet News examines the recurring trope of art dealers as villains in popular cinema, highlighting seven films that feature duplicitous gallerists, auction house specialists, and art advisors. Examples include Rhodora Haze in *Velvet Buzzsaw* (2019), a ruthless gallerist who profits from a dead artist's work against his dying wish, and Virgil Oldman in *The Best Offer* (2013), an auction house director entangled in forgery and deception. The article also references Victor Taft in *Legal Eagles* (1986), where a performance artist's father's suspicious death drives the plot.

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Artnet News's Wet Paint column reports that Lomex gallery founder Alexander Shulan and art advisor Ralph DeLuca are partnering to open a new gallery, Lomex Las Vegas, in an old atomic ranch home three miles from the Strip. The space, located in a historic neighborhood where parts of Martin Scorsese's 'Casino' were filmed, will feature seasonal exhibitions, performances, and events curated by Shulan, with a new roster of artists distinct from Lomex's existing lineup. Separately, the column introduces Marvin, an AI-generated Instagram influencer who mimics a techno-optimistic art speculator and leaves ChatGPT-style comments on art world accounts.

Spanish culture ministry denies loan of Picasso's Guernica to Bilbao

Spain’s Ministry of Culture has officially rejected a request from the Basque government to loan Pablo Picasso’s 'Guernica' to the Guggenheim Bilbao for an exhibition in 2026. The proposed loan was intended to commemorate the 90th anniversary of both the first Basque government and the 1937 bombing of Gernika. However, Culture Minister Ernest Urtasun cited a conservation report from the Reina Sofía museum warning that the fragile state of the canvas, which suffers from micro-cracks and paint loss, makes any transport a significant risk to its preservation.

Keeping up with the Kleins: exhibition brings together Yves’s talented artist family

The Stedelijk Museum Schiedam in the Netherlands has opened an exhibition titled 'Yves Klein and His Artist Family,' which presents the work of the iconic French artist Yves Klein alongside that of his father Fred Klein, his mother Marie Raymond, and his widow Rotraut Klein-Moquay. The show features 30 works by Yves and over 40 pieces by his family members, highlighting their distinct artistic contributions within 20th-century Modernism.

Artists, clowns, runaways: a stay at the Chelsea Hotel – in pictures

Photographer Albert Scopin has released a new book through Kerber Verlag documenting his residency at New York’s iconic Chelsea Hotel between 1969 and 1971. The collection features rare, intimate portraits of the hotel's legendary inhabitants, including a young Patti Smith and Robert Mapplethorpe before their rise to global fame, alongside long-time manager Stanley Bard and avant-garde figures like Vali Myers and Holly Woodlawn. Scopin’s lens captures the 'creative chaos' of the era, from the art-filled lobby to the eccentric private quarters of residents like composer George Kleinsinger.

Wilhelm Sasnal review – his wild juxtapositions are almost obscene

Polish artist Wilhelm Sasnal's new exhibition at Sadie Coles HQ in London presents a disorienting array of paintings. The works juxtapose disparate and often disturbing images, including a grotesque depiction of the Oval Office, portraits of his family, album art for the industrial band Throbbing Gristle, and a forest scene linked to the Holocaust, creating a deliberate sense of fragmentation and broken connections.

I thought my cuckoo clock was amazing, but it’s got nothing on my statue of Bert the cheery chef | Adrian Chiles

Adrian Chiles, a writer and broadcaster, recounts his acquisition of a whimsical figurine of a cheerful chef, which he named Bert after the reclamation yard owner from whom he bought it in the Black Country. He describes the personal joy and daily lift the statue brings him, contrasting it with a cuckoo clock whose novelty eventually wore off. Chiles details the statue's charming, slightly worn appearance and its role as a conversation piece, particularly due to the West Midlands slang word "bostin'" written on its menu board.

‘Old masters too’: Ghent exhibition celebrates female artists of the baroque

The Ghent Museum of Fine Arts (MSK) has opened the exhibition 'Unforgettable: Women Artists from Antwerp to Amsterdam, 1600-1750,' featuring over 40 female artists from the Baroque period in the Low Countries. The show highlights painters like Judith Leyster and Maria van Oosterwijck, as well as practitioners of crafts like paper-cutting and lace-making, aiming to restore these women to a historical narrative dominated by male 'Old Masters' like Rembrandt and Vermeer.

In major auction night, rare Klimt painting smashes records at $236.4 million

Sotheby's held its first sale at its new US headquarters in New York, where Gustav Klimt's "Portrait of Elisabeth Lederer" sold for $236.4 million, becoming the most valuable work of modern art ever sold at auction and the most expensive artwork ever sold by Sotheby's globally. The record-breaking 20-minute bidding war also saw strong results for works by Edvard Munch ($35.1 million) and a Klimt landscape ($86 million), while the evening's total reached $706 million. However, two top lots by Kerry James Marshall and Barkley L. Hendricks failed to sell, and Maurizio Cattelan's gold toilet "America" drew only a single bid from Ripley's Believe It or Not! for $12.1 million.

MoMA Survey Shows How Marcel Duchamp Changed the Art Game

The Museum of Modern Art (MoMA) has launched a comprehensive survey of Marcel Duchamp’s work, highlighting the artist's revolutionary impact on the definition of art. The exhibition traces Duchamp's transition from traditional painting to his radical 'readymades,' which prioritized intellectual concepts over aesthetic craftsmanship.

Notes from New York: Rotting Meat

Artist Jen Liu’s solo exhibition 'Pound of Flesh' at Silverlens New York explores the dehumanizing nature of digital labor through visceral imagery of raw meat. The show features paintings where human consciousness is replaced by butcher-shop cuts and an animated video based on Liu’s research into microworkers—individuals who perform repetitive, low-paid tasks to train AI models. By juxtaposing the biological reality of the body with the clinical extraction of data, Liu highlights the physical and psychological toll of the 'Agentic Age.'

Closely Watched Curator Raphael Fonseca Joins Lisbon’s Culturgest

Raphael Fonseca, a prominent curator specializing in Latin American art, has been appointed as the new visual arts programmer at Culturgest in Lisbon. He will relocate to Portugal in June, succeeding Bruno Marchand, while maintaining a curator-at-large position with the Denver Art Museum, where he has served since 2021.

How Alexander Calder Set Sculpture in Motion

Wie Alexander Calder die Skulptur in Bewegung setzte

The Fondation Louis Vuitton in Paris has launched a major retrospective titled "Rêver en Équilibre," dedicated to the American sculptor Alexander Calder. Featuring over 300 works, the exhibition traces Calder’s journey from his 1926 arrival in Paris to his invention of the "mobile," a term coined by Marcel Duchamp. The show includes iconic large-scale hanging sculptures like "Rouge triomphant," wire figures from his famous "Cirque Calder," and rarely seen private loans, alongside paintings and jewelry that highlight his engineering background and poetic approach to abstraction.

Between setbacks and uncertain collectors, how did the miart 2026 fair go for the galleries?

Tra intoppi di percorso e collezionisti incerti, come è andata la fiera miart 2026 per le gallerie?

The 2026 edition of the miart fair in Milan faced significant logistical challenges following its move to the South Wing of the Allianz MiCo. While the 'Emergent' section thrived with ample space and natural light, the 'Established' and 'Anthology' sections suffered from a confusing multi-level layout, poor signage, and oppressive lighting. Many galleries, including Alfonso Artiaco, reported that the lack of clear directions turned high-quality exhibition spaces into "cathedrals in the desert," making it difficult for collectors to locate booths.

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The article recounts the author's experience at Art Basel Miami Beach 2025, beginning with a moment of reflection on the beach before the fair week's chaos. Three veteran attendees—an artist, an advisor, and a gallery owner—chose to skip the event this year, citing lackluster parties, declining collector interest in Miami compared to Paris, and poor sales attrition. Despite these doubts, the fair saw strong sales, with Hauser & Wirth reporting a 40% increase in the first three hours, and a new digital art sector boosting optimism. Pop-up exhibitions, like "The Body is The Body" at the Rice Hotel, were highlights, while Vanity Fair's party remained the most coveted invite.

‘Quality always rules’: VIP day sales at Frieze London 2025

Frieze London 2025 opened with VIP day sales reflecting a cautious but resilient market. Gallerists reported solid sales, including Michael Landy's 'Multi-Saint' (2013) sold to the Walker Art Gallery for €125,000, and blue-chip works at Frieze Masters such as René Magritte's 'Le domaine enchanté' (1953) for $1.6m and Gabriele Münter's 'The Blue Garden' (1909) for SFr2.4m ($3m). Dealers noted a shift from speculative frenzy to more considered buying, with collectors taking longer to decide but still investing in quality works. The fair saw strong attendance, including wealthy individuals who had left London due to UK tax changes returning to buy.

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Louvre president Laurence des Cars faced a contentious Senate hearing on Wednesday, where lawmakers pressed her about ignored security warnings that preceded the October theft of $102 million in imperial jewels from the Apollo Gallery. Audits from 2017 and 2018 had flagged structural vulnerabilities, but Des Cars claimed she was not informed until after the theft. She defended the museum's response, citing new cameras, increased security training budgets, and an imminent senior security coordinator appointment. Conservative senators Jacques Grosperrin and Max Brisson demanded her resignation, with Brisson walking out when she declined to answer. Former president Jean-Luc Martinez also testified, saying he had not reinforced windows or balcony due to fire-safety concerns, a rationale security experts rejected.

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The Vatican will return several dozen cultural objects, including an Inuit kayak, to Indigenous communities in Canada. The objects are housed in the Vatican Museum's Anima Mundi ethnographic collection and have been subject to scrutiny from Indigenous advocates who argue that cultural heritage stolen during colonial periods should be repatriated. The return follows Pope Francis's 2022 "penitential pilgrimage" to Canada, where Indigenous leaders requested the return of war clubs, masks, and wampum belts. The Vatican plans to use a "church-to-church" model, handing the objects to the Canadian Conference of Catholic Bishops, with the understanding that Indigenous communities will be the ultimate custodians. An announcement is expected in the coming weeks, with the objects potentially arriving in Canada by the end of 2025.