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An Intimate Portrait of Basquiat’s Early Life Returns to Brooklyn

The exhibition “Our Friend, Jean” returns to Brooklyn this May at The Bishop Gallery, coinciding with Frieze Week. The show features twenty artworks alongside personal ephemera and photographs from Jean-Michel Basquiat’s formative years between 1979 and 1980, primarily sourced from the collection of his former roommate Alexis Adler. This iteration includes previously unseen items from Adler’s trove, such as hand-painted garments and postcards, and will be activated by panels featuring Basquiat’s early collaborators.

7 art history facts 2639759

Frieze Week in New York has arrived, drawing tens of thousands of visitors to The Shed for displays from over 65 international galleries. The article offers a collection of art historical trivia to help attendees impress peers, including tales of a potentially fake Picasso gifted to Robin Williams by Disney, Piet Mondrian's fondness for Disney's *Snow White and the Seven Dwarfs*, and a legend that Raphael's pupil Giulio Romano created erotic frescos in the Vatican's Sala di Constantino out of anger over delayed payment from Pope Clement VII.

Observer’s 2025 May Art Fair Calendar (Updated)

Observer has published its updated 2025 May Art Fair Calendar, highlighting a packed schedule of art fairs in New York and around the world. Key fairs include CONDUCTOR 2026 (April 29–May 3), a Brooklyn-based fair focused on artists of the global majority; the Aotearoa Art Fair 2026 (April 30–May 3) in New Zealand; the Clio Art Fair 2026 (May 7–10 and 14–17), known as an "anti-fair" for unrepresented artists; and PHOTOFAIRS Shanghai 2026 (May 7–10), a leading platform for contemporary photography in China. The article notes that May is one of the busiest months in the spring art calendar, with many fairs concentrated in New York City during "Frieze Week."

What’s Showing in Chelsea During Frieze Week New York

This article is a critic's guide reviewing national pavilions during Frieze Week New York. Andrew Durbin contrasts a vacuous US presentation with incisive and moving installations from Britain and Germany, questioning the meaning and depth of the American contribution.