Marisa Adesman, a rising artist based in Chicago, is presenting her solo exhibition “Under the Rose” at Anat Ebgi in New York, featuring six new paintings that blend trompe l’oeil and surrealism to create nocturnal interior scenes of magic, eroticism, and domestic disobedience. The show follows her Los Angeles debut “Forklore” in 2021 and her first museum exhibition at KMAC Contemporary Art Museum in 2023, where her painting sold for $90,000 at Art Basel Miami.
Marlow Moss's painting *White, Black, Blue and Red* (1944) sold for £609,600 ($819,912) at Sotheby’s Modern and Contemporary Evening Auction in London, far exceeding its presale high estimate of £480,000. The work, backed by a guarantee, sparked a bidding war among seven bidders and set a new auction record for the British Constructivist artist. The previous record was set in 2022 at Christie’s London.
A Frank Lloyd Wright home, the Elizabeth and Rollin Furbeck House (1898), has been listed for sale at $2 million in Oak Park, Illinois. The 5,000-square-foot, five-bedroom property features a 9-foot-wide picture window thought to be the first such residential feature by Wright, along with Roman brickwork, diamond-paned windows, and a heated pool. The current owners, Tom and Deb Abrahamson, have lived there for 27 years and are seeking a buyer who will appreciate its historic and architectural significance.
A rediscovered oil painting by J.M.W. Turner, titled *The Rising Squall, Hot Wells, from St Vincent’s Rock, Bristol*, sold for £1.9 million ($2.6 million) at Sotheby’s Old Masters and 19th Century Paintings evening auction in London—more than six times its high estimate. The work, painted in 1792 when Turner was 17, had been misattributed and sold for just $506 at a Dreweatts auction the previous year. After cleaning revealed Turner’s signature, scholars confirmed its authenticity, and it was identified as Turner’s first publicly exhibited oil painting, exhibited at the Royal Academy in 1793. The winning bidder was a private collector in the U.K., outbidding Bristol Museum and Art Gallery, which had raised over £100,000 from donors in a failed attempt to acquire the work.
Performance Space New York is auctioning naming rights to the stalls in its fourth-floor unisex restroom as a fundraising campaign. Artist Bailey Hikawa will create custom resin toilet seats and commemorative plaques for each stall, collaborating with donors to reflect their personal aesthetics. One stall remains available and will be auctioned online this summer. The campaign coincides with a sound installation by Kevin Beasley that transforms the restroom into an immersive acoustic environment. Senior director Pati Hertling produced a promotional video using AI tools, featuring a synthetic newscaster announcing the fundraiser.
At Kering's historic Laennec headquarters in Paris, the exhibition "Balenciaga by Demna" presents a self-curated retrospective of the designer's decade-long tenure at the house, from 2015 through 2025. Open by appointment through July 9, the show features 101 objects including complete looks, accessories, and provocations drawn from 30 collections, alongside audio narration using an AI rendering of Demna's voice. The exhibition serves as a capstone before Demna transitions to his new role as creative director of Gucci, while Pierpaolo Piccioli prepares to take over at Balenciaga. Highlights include a metallic gold ballgown shaped like a Ferrero Rocher candy, a hyperrealistic mannequin of muse Eliza Douglas, and the Spicy Chili Chips Bag clutch.
Creative Australia has reinstated Lebanese-born artist Khaled Sabsabi and curator Michael Dagostino as the representatives for Australia's pavilion at the 2026 Venice Biennale, following an independent review and months of public backlash. The pair were initially removed in February after a column in The Australian criticized Sabsabi's 2007 video installation "You," which includes manipulated footage of Hezbollah leader Hassan Nasrallah, accusing the artist and curator of favoring boycotts of Israel. The abrupt removal prompted resignations from senior Creative Australia staff and board members, widespread condemnation from the art community, and an open letter from shortlisted pavilion candidates demanding reinstatement.
President Trump's proposed spending legislation, known as the "Big Beautiful Bill," includes $40 million for the procurement of statues for the National Garden of American Heroes. The funds, appropriated to the National Endowment for the Humanities for fiscal year 2025 and available through 2028, will support life-size statues of 250 historical figures, with selected artists receiving up to $200,000 per statue. The garden, first announced in a 2020 executive order, is a priority for the 250th anniversary of the Declaration of Independence and requires realistic depictions in materials like marble or bronze.
The Goodwood Art Foundation, a new contemporary art destination set within the 11,000-acre Goodwood Estate in West Sussex, England, opens to the public on May 31. The inaugural season features works by Susan Philipsz, Rachel Whiteread (including a monumental staircase sculpture *Down and Up*), Veronica Ryan, Rose Wylie, Isamu Noguchi, and Hélio Oiticica (whose *Magic Square #3* will be the first outdoor sculpture by the late Brazilian artist in Europe). The estate, owned by Charles Gordon-Lennox, the 11th Duke of Richmond, is historically known for sporting events like the Festival of Speed and the Qatar Goodwood Festival, and houses a historic art collection including Canalettos and works by George Stubbs.
Shana Moulton, an artist and chair of the art department at the University of California, Santa Barbara, discusses her exhibition "Meta/Physical Therapy" at the Museum of Modern Art in New York and her retrospective at the Buffalo Institute for Contemporary Art. The article centers on Moulton's semi-autobiographical alter ego, Cynthia, a hypochondriac navigating New Age wellness culture through video installations, performances, and a collection of eccentric objects. Moulton explores themes of hypochondria, hospital art, and the absurdity of wellness consumerism, drawing from her upbringing in a California mobile home park and her long-running video series "Whispering Pines" (2002–18).
The fourth season of the FX series *The Bear* features two photographs by Tyler Mitchell in an episode centered on the character Syd. The works shown are *Untitled (Kiki and Stephan Dancing)*, a grid of shots commissioned by *Vogue* featuring actors KiKi Layne and Stephan James, and *Untitled (Group Hula Hoop)*, a 2019 image of children hula hooping in Brooklyn. Mitchell, who rose to fame for photographing Beyoncé, is now represented by Gagosian and has seen his market prices climb above $24,000 at auction.
Independent curator Brice Arsène Yonkeu has organized "Ever So Present II: Between Home and Elsewhere," the second installment of a two-part exhibition at Gagosian's Park & 75 space in New York. The show features four emerging artists of African descent—including Emma Prempeh and Josèfa Ntjam—whose works in painting, photomontage, and assemblage explore themes of diaspora, memory, migration, and belonging. Yonkeu is the first curator invited to participate in dot.ateliers' new residency program, a foundation and exhibition space launched by Ghanaian painter Amoako Boafo in Accra in 2023. The exhibition expands on questions raised in the first iteration held in Accra, asking what remains "ever so present" in diasporic art across borders and cultures.
The Louvre Museum in Paris has announced an architectural competition for a €400 million ($417 million) expansion, which includes a dedicated underground gallery for Leonardo da Vinci's *Mona Lisa* and a new entrance on the eastern facade near the Seine River. The project, dubbed a "New Renaissance" for the Louvre, follows a staff strike over overcrowding and an internal memo from director Laurence des Cars citing crumbling infrastructure. A 21-person international jury will select the winning design in October, with the aim of easing congestion at I.M. Pei's iconic glass pyramid entrance and providing a separate timed-entry space for the *Mona Lisa*.
Greece is building a cultural coalition with Italy to strengthen its campaign for the return of the Parthenon Marbles from the British Museum. Italy's culture minister Alessandro Giuli pledged support during a visit to Athens and announced the repatriation of 145 ancient coins. Greek culture minister Lina Mendoni is leading efforts to build international backing, and the two countries have devised joint cultural initiatives, including an exhibition of modern Greco-Italian metaphysical painters. Meanwhile, the U.K.'s Labour government has taken a neutral stance on the issue, departing from the previous Conservative government's opposition, and negotiations between Greece and the U.K. are described as "ongoing and constructive."
The Art Angle podcast team reviews three major art stories from June. First, Canyon, a new museum-like venue dedicated to immersive video art, has been announced for New York's Lower East Side. Second, the team discusses the outcomes of Art Basel in Switzerland, the art world's most important fair, and ongoing volatility in art pricing. Third, they examine the buzz—and mockery—surrounding Oscar-winning actor Adrien Brody's painting exhibition in New York City. Culture editor Min Chen joins host Ben Davis and senior editor Kate Brown to analyze these developments.
Liz Collins created two monumental 16-foot-long tapestries for the 2024 Venice Biennale, titled *Rainbow Mountains: Moon* and *Rainbow Mountains: Weather* (both 2023). Initially conceived as a single 40-foot weaving, the project proved too ambitious and was split in two. Collins worked at the TextielLab in Tilburg, Netherlands, switching to a lighter yarn after a failed trial, and ultimately brought the finished works to New York in duffel bags before curator Adriano Pedrosa selected them for the Biennale. The textiles depict mountain ranges emitting rainbows through dark skies, exploring themes of duality—danger and joy, precarity and euphoria.
London's V&A Museum will open "Marie Antoinette Style" in September, the first U.K. exhibition focused on the French queen's influence on fashion and design. Featuring 250 objects including historical artifacts from Versailles, court dresses, jewels, and contemporary pieces, the show explores how Marie Antoinette's lavish personal style—from pastel gowns and towering wigs to rococo interiors—reshaped 18th-century aesthetics and continues to inspire artists and designers like Alexander McQueen and Sofia Coppola. The exhibition is sponsored by shoemaker Manolo Blahnik and includes immersive scent recreations of the queen's favorite perfume.
The feminist collective Guerrilla Girls began its activism in May 1985 by wheat-pasting posters in SoHo, New York, that listed prominent male artists and revealed that their galleries showed 10 percent or fewer women artists. The group formed after the 1984 MoMA exhibition 'An International Survey of Recent Painting and Sculpture' included only 13 women out of 169 participants, sparking protests that failed to gain traction. For 40 years, the Guerrilla Girls have used statistics-driven, provocative posters to call out sexism and racism in galleries, museums, and the broader art world. This year, their anniversary is marked by retrospective exhibitions at the National Museum for Women in the Arts in Washington, D.C., the Getty Research Institute in Los Angeles, and the National Gallery of Bulgaria in Sofia.
The Van Gogh Museum will host an exhibition titled "Captivated by Vincent. The Intimate Friendship of Jo van Gogh-Bonger and Isaac Israëls" from September 12, 2025 to January 25, 2026, marking the centenary of Jo van Gogh-Bonger's death. The show features works by Dutch painter Isaac Israëls, who was a close friend of Van Gogh-Bonger and frequently incorporated copies of Vincent van Gogh's paintings into his own compositions. It includes 10 Israëls works inspired by Van Gogh, his portrait of Van Gogh-Bonger (recently restored), and excerpts from her diary, alongside over 100 letters between the two being published in a digital edition.
Justin Vivian Bond, a multidisciplinary artist and performer, is profiled in ARTnews as part of their Newsmakers series. Bond, who received a MacArthur Foundation “genius grant” in 2024, discusses their upcoming performances at Joe’s Pub in New York, including a show titled “Well, Well, Well” inspired by lesbian singer-songwriters and the novel *The Well of Loneliness*. They also mention resurrecting their duo Kiki & Herb in London, and reflect on their 2017 exhibition at the New Museum, “Trigger: Gender as a Tool and a Weapon,” whose wallpaper is now installed at the V&A East Storehouse.
On Wednesday in Paris, Sotheby's auctioned a collection of Napoleonic artifacts from the private collection of prominent French antiques dealer Pierre-Jean Chalençon, generating €8.7 million ($9.6 million) against a €6 million estimate. The 112-lot sale included imperial furniture, Old Master paintings, and personal relics such as Napoleon's worn stockings and a copy of his marriage certificate. Highlights included a portrait by Jean-Baptiste Mauzaisse that sold for €863,600 (20 times its estimate) and the only surviving remnant of Napoleon's first will, which fetched €482,600. However, Napoleon's bicorne hat underperformed, selling for €355,600 against a €600,000 low estimate, amid provenance questions raised by French newspaper Le Figaro.
Cara Romero, an enrolled citizen of the Chemehuevi Indian Tribe, is the subject of her first institutional solo exhibition, "Panûpünüwügai," at Dartmouth's Hood Museum in New Hampshire. The show features her photography that fuses Indigenous ancestral memory with pop culture, depicting Native women as powerful agents reclaiming space against colonial stereotypes. Romero has also been featured in over 10 museum group exhibitions since last fall, including shows at the Hudson River Museum and Cantor Art Center.
The Digital Art Mile, Basel's first-ever digital art fair, opened its second edition on Monday at the city's Kult Kino Camera cinema, running through Sunday. Founded by digital art adviser Georg Bak and ArtMeta founder Roger Haas, the fair features panels, conferences on the digital art market, and the headline exhibition “Paintboxed,” which explores the history of the Quantel Paintbox. In a calmer, more academic atmosphere than Art Basel, ARTnews asked 10 prominent digital art figures to select their favorite artwork from the fair, with responses highlighting works such as Kim Asendorf's "Monogrid 90," XCOPY's "Last Selfie," and Matt Kane's "Gazers 200."
John Singer Sargent's iconic portrait *Madame X* (1883–84), depicting American-born socialite Virginie Amélie Avegno Gautreau, caused a scandal when it debuted at the 1884 Paris Salon. Critics were outraged by the fallen shoulder strap on Gautreau's gown, which implied an illicit rendezvous, and by the public exposure of a recognizable high-society woman in such a provocative pose. Sargent repainted the strap after the Salon, but the damage was done: Gautreau's reputation suffered, and Sargent fled Paris for London to restart his career. The painting now belongs to the Metropolitan Museum of Art and will be featured in its upcoming exhibition "Sargent and Paris."
Chinese artist and activist Ai Weiwei will debut a new site-specific work in Kyiv, Ukraine, this fall, responding to the country's ongoing war with Russia. Titled "Three Perfectly Proportioned Spheres and Camouflage Uniforms Painted White," the installation will be on view at Pavilion 13, a Soviet-era exhibition space, from September 14 to November 30. Commissioned by the nonprofit Ribbon International, the work reimagines Ai's "Divina Proportione" series (2004–12) using metal spheres encased in camouflage fabric painted white, symbolizing layered realities and the concealment of truth during conflict.
Art collector and real estate financier Aby Rosen paid $55 million for the Gilded Age landmark building at 190 Bowery in New York, which had been owned for decades by photographer Jay Maisel. Maisel bought the property—the former Germania Bank building—around 1966 for a reported $102,000, making the sale a dramatic example of New York real estate appreciation. The building, located near the New Museum, was listed on Rosen's company RFR Holdings before he entered a contract to purchase it in August, and was subsequently re-listed for sale through Cushman & Wakefield.
A new exhibition titled “Heiress: Sargent’s American Portraits” at London’s Kenwood House explores the phenomenon of the “dollar princesses”—American heiresses who married into the British aristocracy between 1870 and 1914. The show features eight paintings and ten charcoal studies by John Singer Sargent, including portraits of notable figures like Nancy Astor and Consuelo Vanderbilt, and runs through October 5. Curated by Wendy Monkhouse of English Heritage, the exhibition examines the complex social dynamics behind these transatlantic unions, which were often criticized as mercenary transactions.
A tourist at the Uffizi Gallery in Florence damaged an 18th-century portrait of Ferdinando de’ Medici by Anton Domenico Gabbiani while taking a selfie on June 21. The man tripped backward onto the canvas, causing a small tear near the subject's right foot. Museum staff quickly removed the painting for assessment, and the work is expected to return to display soon in the exhibition “Florence and Europe: Arts of the Eighteenth Century.” The perpetrator was apprehended and reported to authorities; director Simone Verde vowed to prosecute and implement “anti-selfie measures.”
Randall Suffolk, director of the High Museum of Art, argues that art museums should let artists lead the integration of artificial intelligence into programming, rather than institutions racing to adopt the technology themselves. He advocates for using AI primarily behind the scenes for organizational efficiency and decision-making, while cautioning against letting AI distract from the direct experience of artworks in galleries.
Photographer Bob Adelman was found dead in his Miami home at age 85, with head injuries likely from a fall. Adelman began his career photographing New York jazz clubs, studied under Harper’s Bazaar art director Alexey Brodovitch, and became a protégé of presidential photographer Jacques Lowe. He earned a master’s degree in philosophy from Columbia and was a member of the Congress of Racial Equality (CORE), using his camera to document the Civil Rights movement—including sit-ins, the Selma-to-Montgomery march, and Martin Luther King Jr.'s "I Have a Dream" speech. He also photographed cultural figures such as Andy Warhol, Roy Lichtenstein, Samuel Beckett, and Jim Morrison.