Scottsdale Art Week is returning for its second edition from March 19–22, 2026, at the Westworld of Scottsdale. The fair will feature over 110 international and local galleries, showcasing a mix of blue-chip modern and contemporary works alongside historic, Indigenous, and Western art. This year's event includes partnerships with major regional institutions like the Phoenix Art Museum and the Denver Art Museum for a series of curated programs and panel discussions.
The Denver Art Museum is hosting "Women of Abstract Expressionism," the first major museum exhibition dedicated exclusively to female painters of the movement. Curated by Gwen Chanzit, the show features over 50 works by artists including Helen Frankenthaler, Jay DeFeo, Elaine de Kooning, and Mary Abbott. The exhibition highlights how these women were integral to the first internationally influential American art movement but were historically sidelined in favor of male peers like Jackson Pollock and Willem de Kooning.
Digital art giants Artnet and Artsy have implemented significant layoffs following their recent merger under the investment firm Beowolff Capital. The cuts, which occurred on April 16, impacted dozens of employees across both organizations, including senior editorial staff such as Sarah Cascone and Eileen Kinsella. The restructuring follows a reported 12% revenue decline for Artnet in early 2025 and involves the shutdown of Artnet's German entity as the two companies consolidate into a single team led by CEO Jeffrey Yin.
Amanda Carneiro and Raphael Fonseca have been named curators of the 2027 Bienal de São Paulo. Carneiro, a curator at MASP since 2018, has organized solo exhibitions for artists including Santiago Yahuarcani, Beatriz Milhazes, and Sonia Gomes, and was part of Adriano Pedrosa’s curatorial team for the 2024 Venice Biennale. Fonseca, visual arts programmer at Culturgest and curator-at-large at the Denver Art Museum, is currently curating the Taiwan Pavilion for the 2026 Venice Biennale and co-curating the 3rd Counterpublic Triennial. He also curated the 2025 Bienal do Mercosul.
The Fundação Bienal de São Paulo has appointed Brazilian curators Amanda Carneiro and Raphael Fonseca as chief curators for the 2027 Bienal de São Paulo, Latin America's largest and longest-running visual arts event. Carneiro, a curator at the Museu de Arte de São Paulo (MASP) since 2018, also organized the main exhibition at the 2024 Venice Biennale. Fonseca, based in Lisbon, works at Culturgest, serves as curator-at-large for Latin American art at the Denver Art Museum, and is curating the Taiwan Pavilion at the 61st Venice Biennale. The event will take place at the Pavilhão Ciccillo Matarazzo in Ibirapuera Park, with further details expected in coming months.
Kent Monkman, a member of the Fisher River Cree Nation and a leading contemporary painter based between Toronto and New York, is the subject of a feature article discussing his career and his first major U.S. museum exhibition, "History is Painted by the Victors," opening at the Denver Art Museum. Monkman is known for epic, genre-bending canvases that subvert classical European painting traditions, particularly 19th- and 20th-century history painting, to expose colonial distortions and omissions. Central to his work is Miss Chief Eagle Testickle, his time-traveling alter ego who queers history and repositions Indigenous presence and agency. The article includes an interview where Monkman reflects on his upbringing in Winnipeg, his relationship to museums, and how painting serves as both a political tool and a method for processing historical trauma.
Kent Monkman, a contemporary artist from the Fisher River Cree Nation, is preparing for his first major U.S. museum exhibition, “Kent Monkman: History is Painted by the Victors,” at the Denver Art Museum. In an interview, Monkman discusses his career-long practice of reimagining Western art history from an Indigenous perspective, using beauty, humor, and theatricality to expose colonial violence and systemic injustices. The exhibition, which began planning in 2018 and was delayed by the pandemic, will later travel to Canada, and Monkman reflects on the rare opportunity to see his dispersed works reunited and the liberating experience of trusting curators with the presentation.
Raphael Fonseca, a prominent curator specializing in Latin American art, has been appointed as the new visual arts programmer at Culturgest in Lisbon. He will relocate to Portugal in June, succeeding Bruno Marchand, while maintaining a curator-at-large position with the Denver Art Museum, where he has served since 2021.
Jordan Casteel is preparing for her first solo museum exhibition, "Jordan Casteel: Returning the Gaze," a 29-painting survey opening at the Denver Art Museum. The article traces her journey from a Yale School of Art graduate, where she painted nude black men with a focus on individuality and humanity, to a rising star in contemporary portraiture. Her career was launched by a 2014 solo show at Sargent's Daughters gallery, leading to a residency at the Studio Museum in Harlem and representation by gallerist Casey Kaplan.
Expo Chicago 2026 concluded with a strategic downsizing of its floor plan at Navy Pier, a move that drew praise from dealers for increasing the quality and manageability of the fair. Significant market activity was reported, including six-figure sales of works by Robert Nava and Luftwerk, alongside the distribution of the Northern Trust Purchase Prize which gifted several artworks to institutions like the Denver Art Museum and The Phillips Collection. Beyond the fair, the Illinois Arts Council announced over $325,000 in grants for public art projects commemorating the U.S. semiquincentennial.
The article recaps the most memorable Denver art exhibitions of 2025, highlighting five standout shows from Front Range galleries and museums. Featured exhibits include Kent Monkman's provocative retrospective "History is Painted by the Victors" at the Denver Art Museum, Bruce Price's "Harmonious Dissonance" at Redline Art Center, Black Cube Nomadic Museum's tenth-anniversary show "What We Hold On To," the textile group exhibition "Rosas y Revelaciones" at Museo de las Américas, and Melissa Furness's mid-career retrospective "Embedded" at the Arvada Center. Several of these exhibits remain on view through early January 2026.
Amanda Precourt is opening the Cookie Factory, a new art space in Denver's Baker neighborhood, on May 24. Housed in a former fortune cookie factory that Precourt purchased in 2017, the 5,700-square-foot venue features four exhibition rooms, two solo shows per year, and monthly activations. The inaugural activation on June 21 will include yoga and sound baths led by local healers. Precourt, a Denver native and philanthropist, has transformed the dilapidated building with her partner, artist Andrew Jensdotter, and added a second-story apartment for her personal contemporary art collection. The space will not display her collection but will commission new works inspired by Colorado's environment.
The Bienal de São Paulo has appointed Amanda Carneiro and Raphael Fonseca as chief curators for its 37th edition, opening in fall 2027. Both are Brazilian curators: Carneiro is a curator at MASP and previously assisted Adriano Pedrosa on the Venice Biennale's main exhibition; Fonseca, based in Lisbon, also curates the Taiwan Pavilion in Venice and works at Culturgest and the Denver Art Museum. The selection follows the success of Cameroonian curator Bonaventure Soh Bejeng Ndikung's 2023 edition.
Raphael Fonseca has been appointed as the new visual arts programmer at Culturgest in Lisbon, the cultural foundation of the Portuguese bank Caixa Geral de Depósitos. He will relocate to Lisbon in June while transitioning to a curator-at-large role at the Denver Art Museum, where he currently serves as curator and head of the Department of Modern and Contemporary Latin American Art.
On August 1, 2026, the Denver Art Museum will host gallery talks featuring its 2026 Native Arts Artists-in-Residence: CooXooEii Black, Adrian Stevens, Sean Snyder, and Benjamin West. The artists will celebrate new installations in the Indigenous Arts of North America galleries, specifically reimagining the Home/Land section, which honors the Native Nations whose ancestral homelands include Denver and the surrounding Colorado region. The event coincides with the 150th anniversary of Colorado statehood and runs from 2-4 pm, with the artists present to discuss their work.
The Denver Art Museum (DAM) is hosting a member preview on April 19, 2025, for "Kent Monkman: History is Painted by the Victors," the U.S. debut exhibition of the artist. Featuring 41 monumental works, the show reimagines Western art history through an Indigenous lens, addressing colonial injustice, generational trauma, and Two-Spirit and queer visibility, with pieces from the DAM's collection and loans from other institutions.
The Denver Art Museum has repatriated a 1,500-year-old marble head of a bearded man to Turkey, following a successful restitution claim. The sculpture, which dates back to the fifth century BCE, was originally unearthed in the agora of the ancient city of Smyrna (modern-day Izmir) and was likely trafficked illicitly before entering the museum's collection. The artifact is now on public display at the İzmir Archaeology Museum.
Denver’s art scene is currently highlighting several intimate yet impactful exhibitions during the transitional spring season. Key highlights include a multi-venue celebration of Colorado artist Ana María Hernando with solo shows at the Museum of Contemporary Art Denver and the Colorado Springs Fine Arts Center, alongside a group showing at Robischon Gallery. Additionally, the Denver Art Museum is showcasing its textile and photography archives through two distinct exhibitions: "Conversation Pieces," featuring high-fashion acquisitions from Chanel to McQueen, and "What We’ve Been Up To: People," a survey of portrait photography spanning from the 19th century to the present.
The Denver Art Museum has unveiled "Conversation Pieces: Stories from the Fashion Archives," an exhibition composed entirely of works from its permanent collection. Featuring approximately 60 mannequins, the show highlights high-fashion garments from the past century, many of which have never been publicly displayed. The curation includes iconic pieces by legendary designers such as Coco Chanel, Yves Saint Laurent, and Elsa Schiaparelli, alongside contemporary works by Alexander McQueen and Carla Fernández.
Six major museum exhibitions opening across the U.S. this winter are profiled, including 'Austrian Expressionism and Otto Kallir' at LACMA, which features a newly acquired Gustav Klimt painting and works by Egon Schiele; 'Divine Color: Hindu Prints from Modern Bengal' at the Museum of Fine Arts, Boston, the first U.S. exhibition to explore how lithography transformed Hindu devotional art; 'Frida: The Making of an Icon' at the Museum of Fine Arts, Houston, examining Kahlo's rise from local painter to global brand; 'Conversation Pieces: Stories from the Fashion Archives' at the Denver Art Museum, showcasing garments from its permanent collection; and 'Grandma Moses: A Good Day’s Work' at the Smithsonian.
The William Havu Gallery in Denver is hosting "Sea Change," the 11th solo exhibition by artist Amy Metier. The show features a new body of work consisting of paintings on panel and works on paper that utilize abstraction to reference landscapes, still lifes, and architectural forms. Metier, a seasoned artist with a significant international residency history, continues her long-standing relationship with the gallery through this latest collection.
The Denver Art Museum (DAM) highlights three photographs from its collection that explore themes of absence and presence. Yoko Ikeda's 2008 image of a Japanese home threshold captures the unseen inhabitants through details like slippers. Keisha Scarville's "Untitled #17" (2017) uses her mother's clothing to evoke grief and memory after her death. David Maisel's "Library of Dust (267)" (2005) documents corroded copper urns containing cremated remains of unclaimed patients from Oregon State Hospital, revealing unique mineral blooms that symbolize individuality.
The Denver Art Museum (DAM) has opened a new photography exhibition titled "What We’ve Been Up to: People," featuring 60 never-before-exhibited photographs from its collection. The show includes works by renowned artists such as Andy Warhol, Richard Avedon, Graciela Iturbide, Dorothea Lange, Tina Modotti, and Andrea Modica, with images spanning from 1929 to 1999. The exhibition aims to highlight the behind-the-scenes work of curators—acquisitions, research, conservation—while offering the public a chance to see fresh acquisitions and overlooked treasures.
Indigenous Canadian painter Kent Monkman, a member of the Fisher River Cree Nation, presents his exhibition "Kent Monkman: History is Painted by the Victors" at the Akron Art Museum, on view through August 16. The show features over 30 large-scale paintings that mimic 19th-century landscape works by settler artists like Albert Bierstadt and Frederic Edwin Church, but inserts Indigenous figures who were historically romanticized, stereotyped, or omitted. Monkman uses his two-spirit alter ego Miss Chief Eagle Testickle to challenge colonial narratives and reverse the artistic gaze. The exhibition was organized by the Denver Art Museum and the Montreal Museum of Fine Arts, with co-curators John Lukavic and Léuli Eshrāghi.
The Denver Art Museum has unveiled its spring 2026 programming, featuring a diverse slate of new and ongoing exhibitions. Highlights include the loan of two Rembrandt portraits from the National Gallery of Art, a major survey of contemporary Australian Indigenous art, and exhibitions on fashion, design, and regional printmaking. The season also sees the reinstallation of Francisco Clapera's complete casta painting series and new collection displays ranging from Japanese bamboo art to historic flatware.
The Denver Art Museum will open an exhibition titled 'Knife Fork Spoon: Everyday Tools, Extraordinary Design' in May 2026. The show explores the history, artistry, and innovation of flatware, featuring over 200 objects from the 19th century to the present, including newly commissioned works by contemporary designers and architects.
The Denver Art Museum (DAM) has announced its winter and spring 2025 programming, including exhibitions, events, and activities from February through April. Highlights include the closing exhibitions "Pissarro's Impressionism" (final day February 8) and "A Constant Sky" by Andrea Carlson (through February 16), the opening of photography show "What We’ve Been Up To: People" on February 8, fashion exhibition "Conversation Pieces: Stories from the Fashion Archives" on February 15, and "Space Is the Place: Art & Design in the Atomic Age" and "'Round the Clock: 24 Hours of Colorado in Prints" on March 1. Special events include Slam Nuba's 5th Annual Poetry Slam on February 21, lectures by Didier William and Zora J. Murff in March, and the major exhibition "The Stars We Do Not See: Australian Indigenous Art" opening April 19. The museum also offers free general admission for members and visitors 18 and under.
The Denver Art Museum (DAM) will present "Conversation Pieces: Stories from the Fashion Archives" in spring 2026, an exhibition drawn from its permanent fashion collection. Curated by Jill D’Alessandro, the show pairs historic and contemporary garments—such as an 1896 House of Worth ballgown with a Rick Owens piece from Spring/Summer 2020—to highlight fashion as an artistic discipline. It also features a section on the little black dress, including a 1926 Chanel shift dress, and an interactive installation by Denver-based KaraKara Blooms. The exhibition precedes a blockbuster show, "DIVA," organized with the V&A Museum in London, which will have its exclusive U.S. venue at DAM in fall 2026.
Three major U.S. museums—the Metropolitan Museum of Art, the Walker Art Center, and the Denver Art Museum—are simultaneously exhibiting works loaned from the Tweed Museum of Art at the University of Minnesota Duluth. The loans include pieces by Ojibwe artist George Morrison (1919-2000) for "The Magical City: George Morrison's New York" at the Met; works by Sičáŋǧu Lakota artist Dyani White Hawk for "Dyani White Hawk: Love Language" at the Walker; and a work by Andrea Carlson for "Andrea Carlson: A Constant Sky" at the Denver Art Museum. Tweed director Julie Delliquanti and Duluth Art Institute executive director Christina Woods highlight the significance of sharing the Tweed's collection with national audiences.
The Denver Art Museum has opened a new exhibition titled “The Honest Eye: Camille Pissarro’s Impressionism,” organized in collaboration with the Museum Barberini in Potsdam, Germany. The show brings together over 100 paintings and objects from nearly 50 international museums and private collections, highlighting Pissarro’s role as a foundational Impressionist. The exhibition’s title comes from a letter in which Pissarro described his artistic approach as “honest,” emphasizing a realistic, detail-oriented style that contrasted with the more radical tendencies of his peers. Works on view include “Lordship Lane Station, East Dulwich” (1871) and “The Garden of Les Mathurins, property of the Deraismes Sisters, Pontoise” (1876), which showcase his nuanced use of color and texture, as well as his engagement with social and political themes.