ArtReview editors highlight the must-see national pavilions at the 61st Venice Biennale, running from 9 May to 22 November 2026. Notable presentations include Austria's Florentina Holzinger turning her pavilion into a toilet and sewage-treatment plant with naked performers, and Germany's pavilion featuring works by Sung Tieu and the late Henrike Naumann, who died in February 2026, exploring East German memory and conceptual minimalism.
Artist Trevor Paglen has published a new book, *How to See Like a Machine: Images After AI*, which argues that generative AI and computer vision are fundamentally changing how images function in culture. Drawing on his decade-long practice, Paglen contends that images are no longer merely representations for human interpretation but have become operational tools—'activations' that trigger automated responses and shape reality. He cites examples such as surveillance cameras at grocery stores, the Samsara navigation system in trucks, and the ImageNet database to illustrate how machine vision systems normalize surveillance in service of capital, a phenomenon he terms 'machine realism.'
Artist Fields Harrington, after witnessing a delivery worker get hit by a car in Brooklyn, began photographing the customized bikes of New York City's delivery workers, capturing their gloves, reflective tape, and cultural markers. His series is now featured in MoMA PS1's "Greater New York" exhibition. In a direct act of reciprocity, Harrington convinced the museum to rent a delivery worker's bike and pay its owner, Gustavo Ajche, his usual wage of $21.44 per hour during museum hours. For one week each month, the bike is displayed, and every 21 minutes and 44 seconds, a notification ding sounds, referencing the wage Ajche and his group Los Deliveristas Unidos fought for.
A research project by the National Trust, the National Gallery in London, and Royal Museums Greenwich has uncovered new details about the identity of an enslaved boy known only as “Jersey,” who appears in a 1748 portrait by Sir Joshua Reynolds. The painting, which hangs at Saltram in Devon, depicts Jersey with his enslaver, naval officer and MP Paul Henry Ourry. Through admiralty records, muster books, and baptismal certificates, researchers identified the boy as “Boston Jersey,” later baptised as George Walker, and found evidence of his naval service and possible path to freedom.
Nancy Holt (1938-2014), a pioneering land artist known for her monumental work *Sun Tunnels* (1976) in the Utah desert, is the subject of a new exhibition at the Goodwood Art Foundation in Sussex. Titled *MOONSUNSTAR EARTHSKYWATER*, the show is the first UK retrospective to bring together Holt's photographic works, films, poetry, indoor installations, and outdoor pieces, including *Hydra's Head*, a constellation-inspired installation of six circular pools in a chalk quarry. The exhibition highlights Holt's recurring motifs of circles and systems, tracing them from her early concrete poem to her large-scale cosmological works.
A new exhibition titled "A Necessary Fiction: Maps, Art, and Models of Our World" has opened in Venice, presented by the Saudi Ministry of Culture in tandem with the 61st International Art Exhibition of La Biennale di Venezia. Held at the Abbazia di San Gregorio from 6 May to 22 November 2026, the show is curated by Sara Almutlaq and Aurora Fonda, with associate curators Zaira Carrer and Amina Diab. It features historical maps and contemporary artworks by artists including Wael Shawky, Nasser Al Salem, Matilde Sambo, Monira Al Qadiri, Shilpa Gupta, Reena Saini Kallat, Manal AlDowayan, Nolan Oswald Dennis, Ibrahim Mahama, Trevor Paglen, Eva & Franco Mattes, Giorgio Andreotta Calò, and Yoko Ono, exploring cartography as an imaginative and ideological act rather than a neutral science.
Andrew Kreps Gallery in New York is presenting 'Leaves of the World,' an exhibition of works by Eileen Agar (1899–1991) spanning seven decades of her career, from 1927 to 1980. The show highlights Agar's enduring engagement with collage and her unique blend of surrealism, cubism, and abstraction, featuring pieces such as 'Leaves of the World' (c. 1940) and 'Personnage' (1949). A parallel exhibition of Agar's work will open at Alison Jacques in London this June.
Artist Maia Chao will activate the seventh-floor galleries of the Whitney Museum of American Art with her performance "Being Moved" as part of the 2026 Whitney Biennial programming. The work explores the theatricality and choreography of a museum visit, examining the gap between the fantasy of profound encounter and the ambivalence of spectatorship. Chao, who studied cultural anthropology at Brown University and grew up with artist parents in Providence, Rhode Island, approaches the museum as a structure that quietly trains behavior and participation. Her earlier projects include "My Business (Cards)" (2017), which invokes Adrian Piper's work, and "Look at Art, Get Paid" (2015–20), which paid non-museum-goers to serve as guest critics.
Artist Damien Davis writes a critical piece on how so-called 'standard' contracts in the art world systematically undermine artists' power, citing long consignment periods, moral rights waivers, and opaque terms that favor institutions. Separately, the Venice Biennale has scrapped its traditional Golden Lion awards after the awards jury resigned; instead, ticket holders will vote on 'Visitor Lions,' with results announced in November, and notably Israel and Russia remain eligible despite the jury's earlier ban. Other news includes damage to a 1,000-year-old Native American archaeological site by construction crews building President Trump's border wall.
Les mondes invisibles d’Hilma af Klint, pionnière de l’abstraction, enfin révélés au Grand Palais
The article reveals the long-overlooked story of Hilma af Klint (1862–1944), the Swedish artist who created abstract paintings years before Kandinsky, Mondrian, and Malevich, yet kept her work secret until 20 years after her death. Her monumental output—1,600 abstract paintings and 124 notebooks—was first publicly shown in 1986 at the Los Angeles exhibition 'The Spiritual in Art, Abstract Painting, 1890–1985'. A 2019 retrospective at the Guggenheim Museum in New York drew 600,000 visitors, a museum record. Now, the Grand Palais in Paris presents the first-ever French exhibition of her work, focusing on her 'Paintings for the Temple' cycle (1906–1915), a series of 193 works that synthesize her spiritual quest.
Beaux Arts Magazine presents a feature on ten artworks that celebrate labor, from ancient Egyptian frescoes to modern depictions of workers. The article highlights pieces such as Pieter Brueghel the Elder's "The Harvesters" (1565), Diego Velázquez's "The Spinners" (c. 1657), and Johannes Vermeer's "The Milkmaid" (c. 1660), examining how artists have elevated peasant, artisan, and domestic work from background detail to central subject. The feature coincides with the Musée d'Orsay's nationwide initiative "100 œuvres qui racontent le travail" (100 Works That Tell the Story of Work), which explores the history and representation of labor in art.
Green Art Gallery in Dubai is hosting 'All the Lands from Sunrise to Sunset,' a group exhibition featuring Alla Abdunabi, Fatma Al Ali, Alessandro Balteo-Yazbeck, and Michael Rakowitz. The show explores the persistence of imperial logics and extractive economies through diverse media, including text-based collages, reconstructed artifacts made from food packaging, and archival interventions. By examining acts of naming, erasure, and symbolic circulation, the artists treat empire not as a historical relic but as a mutating contemporary condition.
Aileen Murphy's third exhibition at Deborah Schamoni in Munich, titled "Sleeps on the Ceiling," presents five new paintings dominated by rosé and pink tones. The works revolve around a table-like motif, featuring animals, disembodied limbs, and surreal details such as a white cat with red eyes and a yellow snake. Murphy, who completed her studies in 2018, blends abstract gestures with detailed figuration, creating scenes that are both playful and uncanny. The exhibition's title is borrowed from Elizabeth Bishop's poem "Sleeping on the Ceiling" (1946), reflecting a dissolution of domestic interior, urban monument, and psychological landscape.
A Reggio Emilia torna la grande rassegna Fotografia Europea. Programma, appuntamenti, centinaia di mostre diffuse
Fotografia Europea, the major photography festival in Reggio Emilia, returns for its 21st edition from April 30 to June 14, 2026, under the theme "Fantasmi del quotidiano" (Ghosts of the Everyday). The official circuit features twenty exhibitions across historic venues such as Chiostri di San Pietro, Palazzo da Mosto, and Palazzo dei Musei, as well as modern spaces like Spazio Gerra and Collezione Maramotti. Highlights include works by Felipe Romero Beltrán (winner of the KBr Photo Award 2025), Mohamed Hassan, Salvatore Vitale, Marine Lanier, Ola Rindal, Tania Franco Klein, Giulia Vanelli, Frédéric D. Oberland, and Simona Ghizzoni, with curatorial contributions from Tim Clark and Luce Lebart. Over three hundred off-circuit exhibitions will also be held throughout the city.
Paul Klee's iconic watercolor 'Angelus Novus' (1920) has been added to the exhibition "Paul Klee: The Visible and the Invisible" at the Jewish Museum in New York, after being delayed due to wartime complications. The work, which was famously owned by philosopher Walter Benjamin and inspired his concept of the angel of history, joins over 70 other works in the survey of Klee's career.
Gallery Isabelle, founded by Isabelle de Caters in Dubai's Al Quoz district, celebrated its 20th anniversary in April 2026 with a 20-day exhibition titled "Move, Pause, Return." The show unveiled one work per day before bringing all 20 artists together for a final gathering. De Caters, who opened her first space B21 Gallery in 2006 when contemporary art in the Gulf was seen as a passing fad, reflects on two decades of building a gallery through instinct, long-term artist relationships, and organic growth rather than commercial dictates.
The Milton Resnick and Pat Passlof Foundation in New York is hosting the exhibition "How Asian Is It?", featuring 12 pioneering East Asian American abstractionists born between 1928 and 1955. Curated by Lilly Wei, the show includes works by Barbara Takenaga, Emily Cheng, Charles Yuen, and David Diao, among others. These artists navigated an art world where downplaying their Asian identities often felt necessary for survival, especially after the 1965 Immigration and Nationality Act reshaped US immigration policy. The exhibition explores how their abstraction—marked by attention to interval, pause, and what remains unsaid—reflects a disciplined negotiation with space rather than a shared style or manifesto.
Fotografia Europea, the international photography festival in Reggio Emilia, Italy, has opened with 20 exhibitions and related events under the theme 'ghosts of the moment'. The festival features works by artists including Tania Franco Klein, Giulia Vanelli, Felipe Romero Beltrán, and Salvatore Vitale, exploring themes of memory, migration, identity, and the unseen forces shaping contemporary life. The festival runs until 14 June 2026.
The exhibition "Flesh and Bones: The Art of Anatomy" at Singapore's ArtScience Museum explores the history of anatomical representation as a cultural construct rather than a universal scientific truth. It juxtaposes Western anatomical atlases from the Renaissance with Chinese meridian (jingluo) systems, featuring works by artist Chiharu Shiota and other historical pieces that reveal how different cultures have visualized the human body through both scientific and spiritual lenses.
The Japan Pavilion at the Venice Art Biennale 2026 features an immersive, interactive exhibition titled "Grass Babies, Moon Babies" by Japanese-American artist Ei Arakawa-Nash. Visitors are invited to care for one of 200 dolls, each with a QR code that provides a "diaper poem" linked to the doll's symbolic birth date—reflecting the artist's personal experience of becoming a father in 2024 and broader social dynamics in Japan. The pavilion, curated by Lisa Horikawa and Mizuki Takahashi, evolves over the seven months of the Biennale as a platform for shared care and participation.
Was wir wegwerfen, verschwindet nicht
The Museum Ostwall at the Dortmunder U in Dortmund has opened a new exhibition titled "Müll – die globalen Wege des Abfalls" ("Waste – The Global Paths of Garbage"), curated by Christina Danick and Michael Griff. Featuring around 50 international artworks from the 20th and 21st centuries, including two newly commissioned pieces, the show uses art to explore waste as material, motif, and aesthetic strategy. Key works include Kader Attia's "Los de Arriba y Los de Abajo," which addresses power imbalances through the lens of garbage in Hebron, and historical pieces by César Baldaccini, Arman, and HA Schult. The exhibition also highlights contemporary issues such as e-waste, global waste trafficking, and the environmental impact of industrial nations on the Global South.
Pro Arts Jersey City presents "A Margin of Influence: Artists and the books that inform them" at ART150 Gallery from May 8-31, 2026. Curated by Raymond E. Mingst and Arthur Bruso, the group exhibition features ten artists—including Agnieszka Wszolkowska, Alvin Quiñones, Brad Terhune, Dorie Dahlberg, Elliot Appel, Hank Yaghooti, Josephine Barreiro, Laura Lou Levy, Nanette Reynolds Beachner, and Peter Delman—who explore how books shape their creative practice. The show runs weekends with an opening reception on May 8.
The 61st Venice Biennale jury, composed of five curators—Solange Oliveira Farkas, Zoe Butt, Elvira Dyangani Ose, Marta Kuzma, and Giovanna Zapperi—resigned on April 30th amid internal tensions over decisions that conflicted with the late Koyo Kouoh's curatorial vision. The jury had previously stated it would refrain from considering countries whose leaders are charged with crimes against humanity by the International Criminal Court. Meanwhile, Filipino artist Jon Cuyson prepares to present his installation at the Philippine Pavilion, featuring works shipped 60 days before geopolitical conflict escalated, navigating unstable maritime routes. His project includes the film series "Sea of Love (Dagat ng Pag-ibig)" and a new fourth film, "Sea of Echoes," exploring themes of migration, queer experience, and ecological resilience through mussels as non-human protagonists.
Media artist Kang Lee-Yeon delivered an immersive lecture at the TED 2026 main stage in Vancouver, using a 30-meter screen to visualize climate change and AI data. She then opened her solo exhibition 'Illumination' at Fondation Fiminco in Paris for the 140th anniversary of Korea-France relations, while also debuting works at Milan Design Week and the Loop Plus media art fair in Busan. Her projects include 'Passage of Water', created with Google and NASA, which translates satellite data into an immersive experience about Earth's freshwater crisis.
The Sungkok Art Museum in Seoul is hosting a photography exhibition titled 'Paris Unseen' or 'Paris, Invisible Paris'. The show features works by 51 artists, including three Koreans, and was co-curated with Alain Sayag, former head of photography at the Centre Pompidou. It aims to move beyond the city's iconic tourist imagery to present lesser-known perspectives of Paris, coinciding with the 140th anniversary of Korea-France diplomatic relations.
A Venezia il famoso street artist JR avvolge completamente un palazzo storico con un’installazione
Street artist JR has wrapped the historic Palazzo Ca' da Mosto in Venice—now the Venice Venice Hotel—with a large-scale installation timed to the 61st Venice Biennale. The project, titled "Il Gesto," reinterprets Paolo Veronese's 1563 masterpiece "The Wedding at Cana" as a contemporary fresco featuring 176 people from the Refettorio Paris community kitchen. Inside the palazzo, an immersive installation combines photographic portraits, reflective surfaces, and audio recordings to create a layered narrative. A monumental tapestry woven by Giovanni Bonotto and the Fondazione Bonotto, made from recycled plastic, wool, cotton, and washi paper, extends the work into a durable, contemplative form.
A new exhibition titled "Dante Ferretti. Con i miei occhi" has opened at the Musei di San Salvatore in Lauro in Rome, celebrating the legendary Italian set designer and costume designer Dante Ferretti. Curated by Raffaele Curi, the show runs until July 19, 2026, and features a collection of Ferretti's sketches, charcoal drawings, and collages that served as the foundational visual ideas for films by directors including Pier Paolo Pasolini, Martin Scorsese, Federico Fellini, and Tim Burton. The exhibition presents these preparatory works not merely as production tools but as autonomous works of art, tracing Ferretti's visual genealogy from Renaissance painters like Piero della Francesca and Caravaggio to contemporary cinema.
A family of entrepreneurs acquired an ancient bar in Rome's Pigneto neighborhood in 2020, inheriting a Roman-era hypogeum dating back to the 1st century BC. Originally a pozzolana quarry, later a wine cellar and WWII air-raid shelter, the space beneath the historic bar Necci dal 1924 reopened to the public on March 12 as an exhibition venue. It now hosts "Sottoforma," a cycle of three exhibitions curated by Donatella Giordano and Agatha Jaubourg that explore the theme of the invisible through contemporary art. The first exhibition features works by Eva Marisaldi, Enrico Serotti, and Luca Vitone, running until March 31, followed by shows with Iginio De Luca and Liliana Moro in April, and José Angelino and Elena Bellantoni in May 2026.
Osh Gallery in London is exhibiting 'The Hudson Transparencies,' a collection of 58 original illustrations by Charles Thomas Hudson, a 19th-century educator and amateur scientist. Created for his lectures, these large-scale transparencies (37.8 by 29.5 inches) combine painted paper and perforated pinholes to depict microscopic creatures such as rotifers, algae, protozoa, and marine organisms. When back-lit, the dark, seemingly unfinished images transform into vivid, detailed visions of life invisible to the naked eye, showcasing the intersection of Victorian-era optical innovation and scientific discovery.
Japanese artist Yuko Mohri has created an exhibition where decomposing fruit powers electronic systems, and visitors move through the installations, becoming part of the circulation of energy within the show. The work explores the unseen energies connecting people and objects, blending organic decay with technological interactivity.