The IFPDA Print Fair is returning to the Park Avenue Armory from April 9–12, featuring 80 international exhibitors presenting 500 years of prints and drawings. The fair highlights the historical and conceptual relationship between the two mediums, with notable works including an Edward Hopper charcoal study and unique or hybrid pieces by artists like Françoise Gilot and Edgar Degas.
The Frick Collection reopens to the public on April 17 after a five-year closure and a $220 million expansion and renovation by Selldorf Architects. The project adds 18,000 square feet, including 10 new galleries in the family's original second-floor living quarters, a marble staircase, cafe, gift shop, and a new auditorium. The percentage of the collection on view has increased from 25% to 47%, and Ukrainian artist Vladimir Kanevsky has created porcelain floral arrangements for the reopening. New director Axel Rüger, who joined from London's Royal Academy of Arts, welcomed journalists at a press preview.
A 19-year-old tourist, Joshua Vaurin, allegedly vandalized artworks at the Metropolitan Museum of Art in New York on November 3. He threw water at Jean Auguste Dominique Ingres's 19th-century painting *The Princess de Broglie* and a 16th-century altarpiece by Girolamo dai Libri, then ripped two tapestries. Vaurin was taken into custody, arraigned on criminal mischief charges, and appeared to be under the influence of an unknown substance. The Met reported minor damage with repairs estimated at $1,000.
The feminist collective Guerrilla Girls began its activism in May 1985 by wheat-pasting posters in SoHo, New York, that listed prominent male artists and revealed that their galleries showed 10 percent or fewer women artists. The group formed after the 1984 MoMA exhibition 'An International Survey of Recent Painting and Sculpture' included only 13 women out of 169 participants, sparking protests that failed to gain traction. For 40 years, the Guerrilla Girls have used statistics-driven, provocative posters to call out sexism and racism in galleries, museums, and the broader art world. This year, their anniversary is marked by retrospective exhibitions at the National Museum for Women in the Arts in Washington, D.C., the Getty Research Institute in Los Angeles, and the National Gallery of Bulgaria in Sofia.
Georges Seurat's Post-Impressionist masterpiece, *A Sunday on La Grande Jatte* (1884–86), is analyzed in depth for its revolutionary technique and historical context. The painting depicts weekend day-trippers in a Parisian park, employing pointillism—which Seurat called divisionism or *peinture optique*—to fix modern life in a chromatic eternity. Influenced by his academic training under Henri Lehmann (a student of Ingres) and Michel Eugène Chevreul's color theory, Seurat used tiny dots of color that blend in the viewer's eye, merging science with art. The work was preceded by *Bathers at Asnières* (1884), which shares the same landscape and thematic concerns, together portraying both sides of the Seine.