After the Afterparty: Berlin Art Tests Its Pulse during Gallery Weekend

Gallery Weekend Berlin took place from late April into early May, drawing large crowds despite ongoing concerns about the city's declining art-market relevance. The weekend kicked off with early previews on Wednesday, including Alex Heide's solo exhibition "the darkroom beams horizons" at the new space Klix, and continued with events at Sprüth Magers, the Between Bridges Foundation, and the hidden venue CHB Fine Arts, which featured works by Nairy Baghramian, Jack O'Brien, Sofia Duchovny, Ilya Lipkin, and Mania Godarzani-Bakhtiari. Friday, coinciding with May Day, saw gallery visits at Molitor and KOW, where Ketuta Alexi-Meskhishvili and Candice Breitz presented solo shows.

First US Survey of Mexican Artist Teresa Margolles Coming This Fall

MoMA PS1 in New York City will host the first United States survey of Mexican artist Teresa Margolles this fall. Trained as a forensic pathologist, Margolles creates works using organic and bodily materials from homicide victims, morgues, and crime scenes. The exhibition will feature pieces confronting murder and violence along the US-Mexico border, including a 2026 evolution of her ongoing series "Air" (2003–), where a gallery will be humidified with water carrying degradable material from homicide sites. The Museum of Modern Art will also present a new experiential installation, "Aproximación al lugar de los hechos (Approaching the Scene)" (2026), starting September 17, which drips water carrying evidence of violent death onto heated steel plates.

BETWEEN EARTH AND CONCRETE DELCY MORELOS EXHIBITS IN LONDON

Colombian artist Delcy Morelos has unveiled her first UK public commission, titled "Origo," at London’s Barbican Centre. Located in the Sculpture Court—a space reactivated for the first time in ten years—the monumental oval installation is constructed from earth, clay, hay, and seeds, infused with aromatic spices like cinnamon and cloves. The work invites visitors to walk through earthen tunnels, creating a sensory experience that contrasts the organic, porous nature of soil with the Barbican’s rigid Brutalist concrete architecture.

Two years ago Russia ceded its pavilion at the Biennale to Bolivia. A testimony from within

Due anni fa la Russia cedette il suo padiglione in Biennale alla Bolivia. Una testimonianza da dentro

Two years ago, Russia ceded its national pavilion at the Venice Biennale to Bolivia, a move that artist Inés Fontenla experienced firsthand when she was invited by Bolivia to participate in the 2024 edition. Fontenla recounts how the pavilion's organization shifted after Bolivia's 2025 elections, with the curator replaced by the new Minister of Culture just one month before the opening. She realized Russia was using Bolivia as a front to re-enter the Biennale after closing its own pavilion in 2022 in protest of the Ukraine invasion, and she ultimately withdrew from the project to avoid being instrumentalized by a military power.