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Actor Josh Brolin recently appeared on the Felix Podcast to discuss his extensive journey as an art collector, revealing the challenges even Hollywood stars face when navigating the gallery system. Brolin shared anecdotes about being placed at the back of waiting lists for high-demand artists like Danielle Mckinney and the humbling experience of having to prove his sincere passion for works to dealers like Jeffrey Deitch. The conversation highlighted his collection, which includes works by George Condo, Shara Hughes, and Jammie Holmes.

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Kim Gordon, the co-founder of Sonic Youth, is currently the subject of two major exhibitions at Amant in Brooklyn. The first, a solo survey titled "Count Your Chickens," showcases two decades of her multidisciplinary practice including painting, ceramics, and film, while the second, "Folded Group," is a group show she co-curated with Bill Nace featuring artists who bridge the gap between music and visual art.

Does the Neue Nationalgalerie Have Feelings?

Hat die Neue Nationalgalerie Gefühle?

The Kunsthalle Bremen has opened "Remix. Photographie – Fiktion und Wahrheit," an exhibition drawn from its permanent collection that explores the tension between reality and artifice in photography. The show traces a lineage from Heinrich Zille’s unvarnished turn-of-the-century street scenes to the objective industrial typologies of Bernd and Hilla Becher, eventually moving into the postmodern manipulations of the Düsseldorf School, including works by Thomas Ruff and Thomas Struth.

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This article argues that the traditional view of art as a vanguard force predicting cultural change is outdated in the early 21st century. It contends that the rapid acceleration of mainstream culture, driven by social media and news cycles, makes it nearly impossible for traditional fine art media like painting and sculpture to stay ahead of the curve. The author suggests that forward-looking art now emerges from para-artistic digital practices such as AI experiments, Red Chip art, NFTs, memes, and TikTok lore, which often challenge conventional aesthetic and ethical standards. Citing Claire Bishop's 2024 book *Disordered Attention*, the piece notes that contemporary artworks tend to be symptomatic of larger conditions rather than anticipatory, and that artists like Artie Vierkant, Joshua Citarella, and Brad Troemel have pivoted from art-making to art-adjacent content creation.

‘There is always something else to discover’: Glenn Brown on the art he collects and why

Artist Glenn Brown discusses his personal art collection in an interview with The Art Newspaper, revealing his first purchase was a 1964 David Hockney drawing of Renée McDougal and his most recent acquisition was a group of Ann Churchill's Daily Drawings from 1974. Brown, who opened The Brown Collection in Marylebone three years ago, is extending its hours during Frieze Week for the exhibition 'Hoi Polloi,' which examines depictions of ordinary people from the 16th century onward. He also has an installation at Gagosian's Frieze Masters booth and a concurrent show at the Freud Museum.

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The Smithsonian American Art Museum's Renwick Gallery has opened "State Fairs: Growing American Craft," the first exhibition since the Trump administration's August 2025 audit of all Smithsonian exhibitions, didactics, and collections. The audit, based on an executive order to "restore truth and sanity to American history," condemned discussions of racism, sexism, and oppression as revisionist history. The exhibition features over 250 works from across the United States, spanning the 19th century to the present, arguing that regional state and tribal fairs are essential sites for the development of American craft. It includes spectacular pieces like a 12-foot pair of Lucchese boots, a life-size butter sculpture, and works by artists such as Morgan Hill, Kelly Bohnenkamp, Betty Spindler, Linda Nez, Kaye D. Miller, and Peggie Hartwell.

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The fifth edition of the Every Woman Biennial, titled "I Will Always Love You," concludes its run at La MaMa Galleria in New York. Featuring over 200 female and non-binary artists, the salon-style exhibition showcases a diverse range of media including neon sculpture, textiles, and video, alongside a series of high-energy performances. Notable participants include Michele Pred, Nadya Tolokonnikova of Pussy Riot, and Swoon, with the event maintaining its tradition of honoring the legacy of Whitney Houston while providing an inclusive platform for contemporary creators.

There Has Never Been an Apolitical Venice Biennale

The Venice Biennale, with its national pavilion structure, has always been a platform for political expression and soft power, a reality evident from its early 20th-century origins. Contemporary critic Arturo Lancellotti's 1909 review of the German and British pavilions was steeped in geopolitical context, revealing how national artistic displays were interpreted through the lens of imperial power and military alliances.

Claire Tabouret’s Stained-Glass Windows for Notre-Dame Divide French Society, with a Legal Threat Looming

French contemporary artist Claire Tabouret has been commissioned to create six new stained-glass windows for the Notre-Dame de Paris cathedral, replacing six existing 19th-century grisaille windows designed by architect Eugène-Emmanuel Viollet-le-Duc. The project, announced by President Emmanuel Macron and the Archbishop of Paris as a "contemporary gesture" following the 2019 fire, has sparked a major public and institutional controversy, with a petition against it gathering over 335,000 signatures.

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Martin Puryear's 1978 sculpture *Self* opens a survey of his work at the Museum of Fine Arts, Boston, titled “Martin Puryear: Nexus,” which runs through Sunday before traveling to the Cleveland Museum of Art in April. Curated by Emily Liebert, Reto Thüring, and Ian Alteveer, the exhibition argues that Puryear's abstract, craft-intensive sculptures—like *A Column for Sally Hemings* (2021)—are not merely formalist exercises but carry political and historical meanings that are deliberately withheld, challenging viewers to read beyond elegant surfaces.

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Michael H. Smith, an artist, dealer, and curator who played a pivotal role in developing Southern California's art scene in the 1970s and '80s, died on October 31 in Santa Barbara at age 80. Smith opened his eponymous gallery in Los Angeles in 1971, later became a partner at the Jack Glenn Gallery, and served as director of the Baxter Art Gallery at Caltech from 1977 to 1982, where he staged exhibitions for artists including Hans Haacke, Richard Tuttle, and Berenice Abbott. He also founded a consultancy for artists, taught at UC Irvine, and worked as a conceptual photographer whose works were exhibited by dealer Craig Krull.

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W. David Marx's book "Blank Space: A Cultural History of the Twenty-First Century" argues that 21st-century culture has stagnated, blaming the Internet and its economies for a lack of innovation. The book cites critics like Jason Farago and Alex Ross who lament the death of monoculture and the failure of the Internet's promised diversity, while Marx himself longs for a past era of linear artistic progress defined by -isms like Realism and Cubism. However, the review criticizes Marx's framework as rooted in a 19th-century positivist fallacy, noting that art history has never been a clean linear progression and that overlooked artists—such as Hilma af Klint and Hector Hyppolite—have always complicated the canon.

‘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.

‘My paintings are always really kitchen sink, everything’s thrown into them’: Christina Quarles on her new solo show in Los Angeles

Artist Christina Quarles has launched her first solo exhibition with Hauser & Wirth in Los Angeles, titled "The Ground Glows Black." The new body of work features her signature fluid, elastic depictions of bodies, but introduces a more "untethered" and monochromatic aesthetic influenced by recent personal trauma. The paintings and works on paper were created in the aftermath of the Eaton fire, which destroyed the artist's home and community in Altadena.

‘I’ve always been interested in the invisible’: Woody De Othello on his new solo show at Pérez Art Museum Miami

Miami-born artist Woody De Othello presents his first solo museum exhibition in his hometown, titled "coming forth by day," at the Pérez Art Museum Miami (PAMM). The show, named after the Egyptian Book of the Dead, explores ritual objects and spirituality across the African diaspora, connecting Othello's ceramic works to ancestral beliefs. In an interview with The Art Newspaper, Othello discusses how his Haitian Catholic upbringing and Miami's multiculturalism shape his practice, and he acknowledges the vulnerability of delving into African religious traditions that may be taboo within his family.

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The son of late Palestinian businessman Uthman Khatib, Prince Castro Ben Leon, is suing LitFin Capital, the Prague-based litigation funder that financed his family's legal battle to recover 135 Russian avant-garde paintings allegedly stolen by Israeli Russian Mozes Frisch. The paintings, attributed to El Lissitzky, Kazimir Malevich, and Wassily Kandinsky, are valued at $323 million. A Paris court secured the works in January after they were seized from Paris-based authenticators ArtAnalysis, which had been holding them for Frisch. Castro claims LitFin is now refusing to pay legal bills unless it gains control of the lawsuits, violating their funding agreement. LitFin denies the allegations, stating it has always honored its contractual obligations.

More US artists forced to pay for their own shows as museum and culture budgets shrink

The article reports that U.S. artists like Lucia Hierro are increasingly forced to pay for their own museum exhibitions and public commissions as institutional budgets shrink. Hierro’s ambitious installation centered on a 7.5-foot monobloc chair required $35,000–$40,000 for fabrication alone, far exceeding what the commissioning institution could provide. The project moved forward only after support from her gallerist and a new fund from Miami-based nonprofit Fountainhead Arts, which received 96 applications requesting $1.8 million—14 times its available $125,000 in grants. The article highlights that even artists selected for the Venice Biennale face such funding gaps.

Isamu Noguchi designed modern America. Atlanta’s High Museum shows how.

The High Museum of Art in Atlanta has launched a major retrospective titled “Isamu Noguchi: ‘I am not a designer,’” featuring nearly 200 objects that span the artist's prolific career. The exhibition showcases Noguchi’s diverse output, including his iconic Akari paper lanterns, furniture for Herman Miller, the Radio Nurse baby monitor, and his extensive stage set collaborations with choreographers like Martha Graham and Ruth Page.

LGBTQ folks have always engaged with magic, spirituality. Here's why

The Palm Springs Art Museum is launching "A Queer Arcana: Art, Magic, and Spirit," an ambitious exhibition exploring the intersection of LGBTQ+ identities and spiritual practices. Spanning over a century of creative production from 1906 to 2026, the show features 35 artists who have utilized occultism, tarot, and magical traditions to navigate societal oppression and foster community. The collection includes a diverse array of media, ranging from historical occult drawings by Austin Osman Spare to contemporary paintings by Devan Shimoyama and feminist tarot decks.

'If a work is meant to be mine, there’s always time': Mashonda Tifrere on the art she collects and why

Mashonda Tifrere, a former singer turned curator and art advisor, discusses her journey from the music industry to becoming a prominent figure in the visual arts. Through her organizations ArtLeadHER and Art Genesis, she has curated over 40 exhibitions focusing on women and underrepresented artists, including a recent Faith Ringgold show at the University of California, San Diego.

Art Notes: Hood Museum's exhibitions reflect on America's 250 years

The Hood Museum of Art in Hanover, New Hampshire, has mounted a dozen exhibitions drawn entirely from its own collection to mark the 250th anniversary of American independence. Curators began planning in 2022, opting for a series of smaller, collaborative shows rather than a single large exhibition. Highlights include "Always Already: Abstraction in the United States," featuring works by Frank Stella and Nampeyo; "American Pop," with Ed Ruscha's "Standard Station, Amarillo, Texas" and Jaune Quick-to-See Smith's "The Rancher"; and "Art Histories/Art Futures," which pairs May Stevens' "Big Daddy Paper Doll" with Michael Naranjo's "He's my brother." The exhibitions reflect the museum's ongoing effort to include art and artists historically left out of the art-historical canon.

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Shanti Escalante-De Mattei's column 'Link Rot' examines the debate over generative AI in creative fields, focusing on the argument that AI is just another tool like a paintbrush. The article critiques this view by highlighting how AI is being used by clients and studios to pressure animators, cut pay, and impose unrealistic deadlines, while the technology was built on ethically questionable datasets scraped from public websites without permission.

How a tiny Arizona town became home to a national queer arts exhibition

A small Arizona town of 1,500 residents, Tubac, is home to Bruce Baughman Studio & Gallery, an LGBTQ+-owned business run by life partners Bruce Baughman and Bill Davis. For three years (2021-2023), the gallery partnered with the Tubac Center of the Arts to host "Proud to Be Seen," a national juried exhibition of works by LGBTQ+ artists and allies. Despite backlash from some community members and the local Chamber of Commerce, the exhibition succeeded and became a local standout. Baughman, known for his reverse painting technique and bold acrylic works, has operated the gallery since 2001 after previously running a space in Saugatuck, Michigan.

Six artists: Always in the heart, my homeland

An exhibition titled "Sown by the Traveler: Women and Migrants in Philippine Art" has opened at UPV MACH (UP Visayas Museum of Art and Cultural Heritage) in Iloilo City, featuring 16 paintings by six Filipino artists who lived abroad: Fernando Zobel, Alfonso Ossorio, Macario Vitalis, Juvenal Sanso, Anita Magsaysay-Ho, and Nena Saguil. Curated by Patrick D. Flores from the collection of the Lopez Museum and Library, the show runs until May 8, 2026, and explores themes of migration and longing for home, with its title drawn from Jose Rizal's poem "To the Flowers of Heidelberg."

‘He always had spirituality’: Spanish exhibition unpicks Picasso's religious influences

The cathedral of Burgos in Spain is hosting "Picasso: Biblical Roots," the first-ever exhibition of Pablo Picasso’s work to be held within a cathedral setting. Featuring 44 works, the show explores how the artist’s Catholic upbringing and religious iconography influenced his oeuvre, despite his self-proclaimed atheism. The exhibition includes early devotional paintings, Renaissance-inspired depictions of the Crucifixion, and secular adaptations of the Virgin and Child and the Good Shepherd.

Artist Bria Edwards presents solo exhibition, What We Do, We've Always Done

Artist Bria Edwards has debuted a solo exhibition titled "What We Do, We've Always Done" at the Julio Fine Arts Gallery at Loyola University Maryland. The multidisciplinary showcase features oil paintings, photography, and video work resulting from two years of fieldwork and interviews with Black equestrians across Maryland. Curated by Lauren Davidson of Museum Nectar Art Consultancy, the exhibition explores the historical and contemporary presence of Black horse riders, moving from the era of enslavement to modern-day leisure and competitive spaces.

Comment | After a market shake up in 2025, it's time to create a right-sized art trade

The article reflects on the art market's turbulent 2025, marked by gallery closures, weak auction results, and canceled art fairs. Rather than viewing this as a collapse, the author argues it represents a necessary "right-sizing" of an industry that over-expanded during boom years. Key figures like Philip Hoffman of the Fine Art Group advocate for leaner, more agile business models, such as his new advisory firm New Perspectives Art Partners. Meanwhile, dealers in New York and Los Angeles are adapting through shared exhibition spaces and strategic mergers, including Marian Goodman Gallery hosting Jenkins Johnson Gallery and the formation of Hoffman Donahue.

The new chief curator of Uzbekistan’s Centre for Contemporary Art is bringing insights from London to the youth of Tashkent

Sara Raza has been appointed as the first artistic director and chief curator of Uzbekistan’s Centre for Contemporary Art Tashkent (CCA), a restored 1912 tram depot that is currently undergoing expansion by French architecture firm Studio KO. Raza, who was born in London and grew up in New York, is a former curator at the Guggenheim Museum in New York and has curated festivals in Uzbekistan and Azerbaijan. She took up the post in January and has already launched a programme of artist residencies in refurbished traditional Uzbek mahallas, while the CCA’s reopening has been delayed from 2025 to 2026.

'There's Always a Beef': A New Exhibition Turns Identity Politics Between Arabic Speakers Into Art

A new exhibition titled 'Mother Tongue' has opened at the Haifa Museum of Art, exploring the hierarchy of Arabic dialects and the politics of language among Arabic speakers. The show turns identity politics into art, examining how language can be a battlefield in a region where one language holds power over another and political expression can lead to legal consequences.

East Dallas art exhibition is a celebration of Chicano identity and community

An exhibition titled “Chicano” at Art on Main gallery in East Dallas showcases the work of over 50 North Texas artists, featuring paintings, digital photography, and mixed media that explore Chicano identity, childhood memories, lowrider culture, immigration enforcement, and Indigenous heritage. Co-curated by artists Ariel Esquivel and Junanne Peck, the show includes pieces such as Chelsea Reyes' digital photograph “Movimiento y Orgullo,” Cease Martinez's painting “Cultura,” and Hermila Cuevas' oil on canvas “Chicomecōātl: Giver of Harvest.” The gallery owner Andrea Lamarsaude, who previously collaborated with the curators on the exhibition “Shelter,” notes the community's positive response.