A critic's visit to the 36th Bienal de São Paulo led to a pointed critique of the exhibition's didactic strategy. The show, curated by Bonaventure Soh Bejeng Ndikung, featured floor-mounted placards with QR codes, poorly placed basic labels, and extremely lengthy omnibus section texts, creating a frustrating experience that oscillated between providing too little and too much information.
Jack Lang, France's former culture minister, resigned as president of the Institut du Monde Arabe (IMA) on February 7 following revelations in the Epstein files that his name appeared 673 times. Lang, 86, denies any wrongdoing, acknowledging a long "cordial relationship" with Jeffrey Epstein but claiming ignorance of his sex crimes. The Paris prosecutor's office opened a preliminary investigation into Lang and his daughter Caroline for "laundering of aggravated tax fraud," and Lang stepped down after being summoned by the French foreign ministry at the request of President Macron and Prime Minister Lecornu.
Pace University Art Gallery presents *Summer Remembers Winter*, a solo exhibition by painter Siobhan McBride, opening February 14, 2026. The show features new works exploring disjointed spaces, memory, and identity shaped by dislocation, reflecting McBride's experience as a Korean-born, U.S.-raised adoptee. The exhibition includes a free public reception on February 19 and an artist talk on March 5, running through March 21, 2026.
The Vancouver Art Gallery is opening a major exhibition titled 'That Green Ideal: Emily Carr and the Idea of Nature,' featuring a comprehensive survey of the Canadian Modernist's landscapes drawn primarily from the museum's own extensive collection. The show will highlight Carr's distinctive post-Impressionist and Fauvist-inspired style, her deep engagement with the British Columbia landscape, and her spiritual quest for communion with nature.
The Kimbell Art Museum in Fort Worth is presenting 'The Holy Sepulcher: Treasures From the Terra Sancta Museum, Jerusalem,' an exhibition of opulent 17th-century liturgical objects from the Church of the Holy Sepulcher. The collection, featuring gifts from European rulers like King Louis XIII of France and King Philip IV of Spain, includes gold, silver, and jewel-encrusted pieces such as vestments, a throne, and a sanctuary lamp, and is on view from March 15 to June 28.
Samantha Yun Wall has opened her first major solo museum exhibition, "What We Leave Behind," at the Seattle Art Museum. The show features her large-scale, black-and-white drawings that explore identity, family, and Korean folklore through surreal, portal-like imagery.
The Portland Art Museum has opened a new permanent gallery dedicated to Black artists, named for local artist, dancer, and educator Thelma Johnson Streat. The gallery, which opened on the first day of Black History Month, features a variety of works by Black Oregon artists, including multimedia installations, paintings, drawings, and a large photographic grid.
Princeton University Art Museum has opened its inaugural exhibition in its new building, focusing on the work of ceramic artist and longtime faculty member Toshiko Takaezu. The show, 'Toshiko Takaezu: Dialogues in Clay,' features her 'closed form' ceramics alongside works by her contemporaries, highlighting her artistic experimentation and her nearly three-decade tenure teaching at the university.
A long-lost portrait of Robert Burns by Henry Raeburn, painted in 1803, has gone on public display for the first time at the National Gallery of Scotland in Edinburgh, just in time for Burns Night on 25 January. The painting resurfaced in a house clearance in Surrey and was auctioned in Wimbledon in March 2025 with a guide price of £300–£500; collector and Burns enthusiast William Zachs purchased it for £68,000 after a tense bidding war, gambling on the Raeburn attribution. Experts including Patricia Allerston and Duncan Thomson have since confirmed the work is authentic, and it is now exhibited alongside Alexander Nasmyth's 1787 portrait of Burns.
Eleven artists from the University of Illinois Urbana-Champaign School of Art & Design explore the relationship between people and place in a new exhibition at Krannert Art Museum. Titled “Another Place: Storymaking the Entangled Prairie,” the show opens January 29 and runs through July 2, featuring sculpture, installation, photography, printmaking, video, and performance. Curated by art history professor Terri Weissman, the exhibition is tied to the Humanities Research Institute’s 2025-26 theme “Story and Place.” Works include Ryan Griffis’s multimedia project on the Illinois River Valley, Stephen Signa-Avilés’s wearable sculptural assemblage “The Recollector,” and Melissa Pokorny’s prairie-inspired installation.
The Countway Library at Harvard Medical School is hosting a closing ceremony for the art exhibition "Call and Response: A Narrative of Reverence to our Foremothers in Gynecology" on January 21. Developed by the Resilient Sisterhood Project, the multimedia exhibition highlights the exploitation of enslaved Black women—Anarcha, Betsey, and Lucy—in the origins of modern gynecology, focusing on experiments by Dr. J. Marion Sims in the 1840s. The event will feature speakers including artists Jules Arthur, Dr. Michele David, Michelle Hartney, and others, along with community organizers.
The National Museum of Women in the Arts (NMWA) presents 'Burnished: Pueblo Pottery,' a focus exhibition running from May 8 to September 27, 2026, showcasing 24 clay vessels by women Pueblo potters. The show features works by historic and contemporary artists including Maria Martinez, Margaret Tafoya, LuAnn Tafoya, Stephanie Tafoya, Emma Lewis Mitchell, Dorothy Torivio, and Iris Youvella Nampeyo, drawn from NMWA's collection and donations from founders Wilhelmina Cole Holladay and Wallace F. Holladay, as well as their son Hap Holladay. It marks the first time the museum's pottery collection is presented in a dedicated exhibition and is part of the Handwork: Celebrating American Craft 2026 initiative.
A new exhibition titled 'Not A Pretty Landscape' opens at Kaleider Studios in Exeter from January 31 to February 1, featuring 15 artists who present contemporary and unconventional views of the South West, deliberately avoiding traditional coastal and rural landscapes. Curated by Exeter-based artist Claire Le Day, the show emerged from an open call with no rules or experience requirements, only the condition that no pretty landscapes be submitted. Artists keep 100% of their profits, and most will be present to meet visitors and manage sales. Featured artists include Jo Beer, whose portraits have been recognized by the National Portrait Gallery and the Royal Society of Portrait Painters.
The Nelson-Atkins Museum of Art has opened 'Painted Worlds: Color and Culture in Mesoamerican Art', a major exhibition featuring over 250 works spanning nearly 3,000 years, from pre-Hispanic times to the present day. Curated by Kimberly Masteller, the show is the first presentation of Mesoamerican art at the museum in nearly 40 years and includes textiles, ceramics, paintings, murals, and codices organized by color categories—white, blue/green/yellow, and red/black—to explore the cultural and spiritual significance of color in Mesoamerican traditions.
The German Art Gallery (GAG), a Dutch-run gallery specializing in art once owned by Nazi leaders including Adolf Hitler, has sparked controversy by advertising on Truth Social, the right-wing platform founded by Donald Trump. The gallery’s founder, who uses the pseudonym Marius Martens, defends the move as a cost-effective way to reach a broad American audience, including conservatives, and denies any ties to neo-Nazi ideology. Critics, including a Truth Social user who alerted The Art Newspaper, argue the ads—taglined “Art of the German Elite, 1933-1945”—appear to celebrate Nazism. Curator and historian Gregory Maertz notes that while the GAG holds one of the most complete private collections of Third Reich art, the rising market for such works may reflect a global revival of right-wing sentiment.
Dilys Blum, the longtime curator of fashion and textiles at the Philadelphia Museum of Art, has died at age 77. She retired last summer after 38 years at the museum, where she served as head of the costumes and textiles department, overseeing the care and interpretation of historic clothing and fabric-based art. Blum began her career at the Museum of London, later working at the Brooklyn Museum and the Chicago Conservation Center before joining the Philadelphia Museum in 1987. She curated notable exhibitions including "Off the Wall" (2019) and "BOOM: Art and Design of the 1940s" (2025), and authored several books on fashion history, including works on Elsa Schiaparelli, Roberto Capucci, and Patrick Kelly.
Tiffany Shlain, a multidisciplinary artist and founder of the Webby Awards, has opened a new exhibition titled "Ancient Wisdom for a Future Ecology: Trees, Time, and Technology" at the di Rosa Center for Contemporary Art in San Francisco. The show, which debuted in October 2024 at the Skirball Cultural Center in Los Angeles as part of a Getty Museum initiative, uses massive tree trunk slices—some weighing 10,000 pounds—to explore Jewish history, feminism, and existential questions. Shlain, known for her work blending feminism, technology, and Judaism, also co-created a video on the teenage brain with Goldie Hawn and recently screened her 2005 documentary short "The Tribe."
Elizabeth Goldring’s new biography of Hans Holbein the Younger takes a documentary-focused approach, prioritizing archival evidence over visual analysis. The book examines Holbein’s life (1497/8–1543) through chronological chapters, using inventories, correspondence, and other records to correct long-held assumptions and propose new theories about his work. Goldring’s detective work includes identifying the green curtain in Holbein’s portrait of Sir Thomas More as a reference to the sitter’s role as chancellor of the Duchy of Lancaster, and suggesting that a lost painting of the More family was given to Erasmus as a gift.
The Metropolitan Museum of Art will open its newly renovated British Galleries on March 2, 2020, as a highlight of the museum's 150th-anniversary year. The suite of 10 galleries, spanning 11,000 square feet, features nearly 700 works of British decorative arts, design, and sculpture created between 1500 and 1900, including new acquisitions and three meticulously conserved 18th-century interiors. The galleries have been completely renovated for the first time since their establishment in the late 1980s, with a new entrance and a re-erected 17th-century staircase from Cassiobury House.
The "Open Archways: By the Light of the Same Moon" exhibition opened on December 18 at the Bowery Art Collective gallery in Metuchen, New Jersey, featuring new works by 15 Muslim and Jewish artists. Curated by Hannah Finkelshteyn and Aakef Khan, the show explores themes of heritage, faith, identity, and culture through five shared themes: shared moments, diaspora experience, womanhood, family and loved ones, and light and spirituality. The opening included a menorah lighting ceremony during Chanukah, and the artists agreed to exclude nationalist symbols or military references from their works.
A group of experimental Minnesota artists in the 1970s, frustrated with the established art scene, successfully pitched the Minneapolis Institute of Art (Mia) to create the Minnesota Artists Exhibition Program (MAEP). Launched in 1975, MAEP gave artists direct control over curating a dedicated gallery within the museum, selecting their peers for exhibitions. Fifty years later, the program remains active, with artists chosen through an open call and an advisory committee, and has featured influential figures like Phyllis Wiener, Judy Onofrio, and George Morrison.
Jerrell Gibbs, a former college football player and two-time college dropout, is now the subject of his first solo museum exhibition, "No Solace in the Shade," at the Brandywine Museum of Art. The article traces his unlikely journey from working double shifts in direct care to rediscovering his passion for drawing after seeing a photo of his wife and daughter, eventually earning a spot at the Maryland Institute College of Art (MICA) and building a career as a painter.
Yasmin Smith, an Australian artist described as an 'archaeological ceramicist,' presents her solo exhibition *Elemental Life* at the Museum of Contemporary Art Australia (MCA) in Sydney, running until June 8. The show features sculptural installations that use ceramics and glaze technologies to decode environmental and human histories. Key works include *Seine River Basin (2019)*, commissioned by the Centre Pompidou, which uses ash-glazed stoneware replicas of tree branches to reflect the chemical history of the River Seine, and *Chicxulub (2025)*, which draws on samples from the asteroid impact crater in Mexico to explore mass extinction. Smith’s practice involves extensive field research and collaboration with ecologists, archaeologists, and local communities, creating site-specific glazes that act as chemical records of place and time.
The Boise Art Museum is exhibiting Julie Green's "The Last Supper," a collection of nearly 1,000 hand-painted blue-and-white ceramic plates depicting the final meal requests of death row inmates. The project, which Green began in 2000 after reading a newspaper clipping about an execution, spans more than two decades and is on display for the first time in its entirety in the U.S. The plates show comfort foods like fried chicken, tater tots, and honey buns, painted in cobalt blue reminiscent of 18th-century Danish porcelain.
The Institute of Contemporary Art (ICA) at the University of Pennsylvania is hosting "Mavis Pusey: Mobile Images," the first museum retrospective of Jamaican-American artist Mavis Pusey (1928-2019). Curated by Hallie Ringle and Kiki Teshome, the exhibition spans five decades and features over 60 works, including seven paintings shown publicly for the first time. Pusey, who studied at the Art Students League and worked at Robert Blackburn's Printmaking Workshop, was known for her geometric abstraction at a time when many Black artists focused on figuration. The show will travel to the Hammer Museum in Los Angeles and the Studio Museum in Harlem.
Pace Gallery, Emmanuel Di Donna, and David Schrader have announced a joint venture to launch Pace Di Donna Schrader Galleries (PDS), a new entity focused on secondary market sales. The partnership, revealed on the eve of Art Basel Miami Beach, will operate from a new headquarters on Manhattan's Upper East Side, with equal partnership among the three. PDS will leverage Pace's global network of galleries in cities including Los Angeles, London, Geneva, Berlin, Seoul, and Tokyo. Di Donna, founder of Di Donna Galleries and former Sotheby's vice chairman, brings expertise in Surrealist, Modern, and post-war art; Schrader, a former Sotheby's head of private sales, adds auction-house experience. The venture is set to begin operations in early 2025, with Di Donna's team moving to the new space in summer 2026.
Christopher Knight, the Pulitzer Prize-winning art critic for the Los Angeles Times, is retiring after more than 40 years in the field, with his final day set for November 28. Knight spent 36 of those years at the Los Angeles Times, becoming one of the last full-time art critics at a major U.S. daily newspaper. He won the Pulitzer Prize for criticism in 2020 for his incisive coverage of the Los Angeles County Museum of Art's proposed overhaul, and received a $50,000 Lifetime Achievement Award for Art Journalism from the Dorothea and Leo Rabkin Foundation the same year. Knight also authored two books and appeared on programs like 60 Minutes and PBS NewsHour.
The Kimbell Art Museum in Fort Worth has announced two major exhibitions for 2026. From March 15 to June 28, the museum will host "The Holy Sepulcher: Treasures from the Terra Sancta Museum, Jerusalem," featuring over 60 silver, gold, and bejeweled objects gifted by Holy Roman Emperors and European monarchs to the Church of the Holy Sepulcher. In the fall, from October 4, 2026, to January 17, 2027, the Kimbell will present "Photography's First Century: Masterworks from the Bibliothèque nationale de France," its first-ever photography exhibition, showcasing more than 150 early images from pioneers like Henri Le Secq, Gustave Le Gray, and Félix Tournachon.
China's private museum sector, which boomed in the 2010s with hundreds of new institutions often tied to property developments or vanity projects, is now contracting. Notable closures include Guangzhou's Times Museum (shuttered in 2022, later relaunched as a project space), OCAT Shanghai (closed indefinitely in 2021), and Qingdao's TAG Museum (suspended operations in 2024). Other prominent museums like Sifang Art Museum, Yinchuan MoCA, and Shanghai MoCA have scaled back, while Long Museum's future appeared uncertain after its owners auctioned part of their collection. The downturn follows the collapse of China's property sector, Covid-19 restrictions, and a broader economic slump.
Artist Hew Locke's most comprehensive museum exhibition to date, "Hew Locke: Passages," has opened at the Yale Center for British Art in New Haven. The show features 49 works spanning nearly three decades, including photography, sculpture, and drawing, and explores themes of empire, identity, and migration. Curated by museum director Martina Droth, the exhibition runs through January and includes key works such as "Veni, Vidi, Vici (The Queen's Coat of Arms)" (2004) and "Koh-i-noor" (2005), which critique British imperial symbols using found objects and textiles.