‘Common ground for me is everywhere I step’: Mohammad Omer Khalil on his five-institution show

Mohammad Omer Khalil, a 90-year-old Sudanese artist and master printmaker, is the subject of a five-institution exhibition titled "Common Ground" spanning New York, Philadelphia, and Michigan. The show brings together six decades of his prints and paintings, along with ephemera from his travels, oral histories, and cultural influences. Khalil, who has lived in the US since 1967, learned printmaking at the EFA Robert Blackburn Printmaking Workshop and has taught at Pratt Institute, the New School, Columbia University, and New York University. He also produces editions with notable artists and has maintained a long connection to the Asilah Cultural Moussem in Morocco.

What’s Gone Wrong in the Glasgow Art Scene?

Rachel Ashenden surveys the precarious state of Glasgow's visual arts scene in March 2026, following the liquidation and closure of the Centre for Contemporary Arts (CCA) after years of mismanagement, a winter shutdown in 2024, and a protest by Arts Workers for Palestine Scotland that led to arrests. She visits artists and organizers across the city, including Rae-Yen Song's exhibition at Tramway, which evolved from a research show at the now-closed CCA, and speaks with Transmission co-founder Alastair Strachan about the city's artist-led legacy.

Mario Schifano, the artist who anticipated Arte Povera and beyond. What the exhibition in Rome looks like

The Palazzo delle Esposizioni in Rome has opened a major retrospective of Mario Schifano, curated by Daniela Lancioni and titled simply "Mario Schifano," running until July 12. The exhibition reconstructs the career of the Italian artist (1934–1998), who worked across painting, film, and music, and highlights his role as a precursor to Arte Povera. A centerpiece is the reconstructed dining room Schifano created for the Rome home of Marella and Gianni Agnelli in 1968, featuring 14 canvases and a planned but unrealized sand-filled room with a pyramid, a detail revealed by film producer Ettore Rosboch in a conversation with the curator.

A Poetic and Material Institutional Critique: Gala Porras-Kim at kurimanzutto and the Venice Biennale

UNA CRÍTICA INSTITUCIONAL POÉTICA Y MATERIAL: GALA PORRAS-KIM EN KURIMANZUTTO Y LA BIENAL DE VENECIA

Colombian artist Gala Porras-Kim presents her first solo exhibition at kurimanzutto gallery in Mexico City, titled "Espacios del futuro replican los del pasado" (2026), alongside her participation in the 2026 Venice Biennale. The show critically examines how museum conservation protocols transform objects by detaching them from their original material, ritual, and spiritual contexts. Central to the exhibition is "The Motion of an Alluvial Record" (2024), a greenhouse that recreates the humidity and temperature of Yucatecan mangroves, allowing clay and sediment to shift continuously, resisting the linear, stratified time of Western archives and evoking cyclical Maya cosmologies. Another series, "Uprooted" (2026), reproduces fragments of looted Teotihuacan murals from Techinantitla, now held by the Metropolitan Museum of Art and the Ethnological Museum of Berlin, reinstalling them near the floor to restore their original architectural scale and orientation.

How Dayanita Singh Organized a Major Show in Venice Without Institutional Funding

Dayanita Singh has organized a major exhibition titled "ARCHIVIO" at the State Archives of Venice, marking the first time the institution has opened its doors to the public for an art show. The exhibition, which runs until July 31, features collapsible wooden pillars covered with black-and-white photographs that explore Singh's 25-year relationship with Italy and her broader engagement with archival documents from both Italy and India. Singh achieved this without major institutional funding, instead relying on a "friendship economy" of bartering, negotiation, and individual patrons, and even arranged for local art students to serve as docents in exchange for professional mentorship.

A woman with a bull costume exuding masculine energy: Marisol Mendez’s best photograph

Marisol Mendez, a Bolivian photographer based in Paris, describes the creation of her striking 2019 photograph featuring Marta Salinas, a theatre actor, holding a bull costume in a field. The image is part of Mendez's series "Madre," which explores womanhood and challenges traditional feminine depictions in Bolivia. Mendez explains that the bull costume, inspired by the Bolivian dance waka tokori, symbolizes masculinity, and the photograph aims to portray a woman comfortable with her masculine energy. The work was inspired by a dream and executed with the help of Mendez's mother, who scouted the location. Mendez is the winner of this year's Saltzman-Leibovitz prize, and her work is featured at Photo London.

Study Shows Engaging with Art as Effective as Exercise in Slowing Aging

A new study by University College London, published in the journal Innovation in Aging, reveals that engaging with arts and culture can slow biological aging at a rate comparable to exercise. Researchers found that attending performances or visiting galleries once a month led to a 3 percent reduction in aging speed, while weekly engagement produced a 4 percent slowdown. Those who participated in the arts at least weekly were biologically at least a year younger than non-participants, outperforming weekly exercisers, who were only six months younger biologically. The study tracked 3,356 adults from 2010 to 2012 using survey data and blood tests, measuring aging via epigenetic clocks that analyze DNA changes.

Fashion Loves Art: All of the Exhibitions to See at the 2026 Venice Biennale

The article, published by L'Officiel Art, provides a guide to fashion-brand-sponsored exhibitions at the 2026 Venice Biennale. It highlights projects by luxury houses including Bottega Veneta, Louis Vuitton, Zegna, and Bvlgari, framing them as unmissable cultural events within the broader Biennale program.