The article previews a major new video installation by artist and filmmaker Isaac Julien, titled "Once Again... (Statues Never Die)," which will be presented at the Barnes Foundation in Philadelphia. The work engages in a complex dialogue with the museum's founder, Albert C. Barnes, and his historic collection of African sculptures, exploring themes of colonialism, modernism, and representation.
New research by French collector and self-proclaimed 'art detective' Alain Moreau challenges the long-held belief that Pablo Picasso's groundbreaking painting *Les Demoiselles d'Avignon* (1907) was primarily inspired by African art. Moreau's paper, published in the *Bulletin of the Reial Acadèmia Catalana de Belles Arts Sant Jordi*, argues that the painting instead drew from Medieval church frescoes in the Spanish and French Pyrenees, such as those in the church of La Vella de Sant Cristòfol in Campdevànol and the Romanesque murals of Sant Martí de Fenollar. He retraced Picasso's travels and notes that the African mask exhibited alongside the painting in a 1939 MoMA retrospective did not arrive in Europe until 1935, decades after the work was completed.
Nearly eighty Mexican cultural figures have signed an open letter condemning the installation of Pedro Reyes's sculpture 'Tlali' (2026) in the plaza of LACMA's new David Geffen Galleries. The work, described as a selfie-friendly monolithic face inspired by Olmec art, closely resembles a 2021 proposal for a Mexico City sculpture titled 'Tlalli' that was abandoned after protests from hundreds of cultural workers. Critics argue that Reyes, a male artist who does not identify as Indigenous, should not represent Indigenous womanhood, and that the new work perpetuates colonial stereotypes and nationalistic aesthetics. LACMA has defended the piece, claiming it is entirely different in purpose and meaning, while Reyes has not commented.
Le primitivisme pour réinventer l’art
Philippe Dagen has published the third and final volume of his series on primitivism, covering the period from World War II to the late 1970s. The book traces how Western artists, from Barnett Newman and Jackson Pollock to members of the CoBrA movement and figures like Jean Dubuffet, Lucio Fontana, and Yayoi Kusama, engaged with so-called "primitive" art from Africa, Oceania, and the Americas, often as a means of rejecting or redefining modern civilization. Dagen also examines the intellectual debates surrounding primitivism, including the critiques of colonized peoples who refused the label "primitive," and the shifting attitudes of thinkers like Claude Lévi-Strauss, Michel Leiris, and Aimé Césaire.
The article reviews the exhibition 'Danh Vo: Untitled' at the Pirelli HangarBicocca in Milan, which presents a collection of objects curated and arranged by the artist. The show features a diverse array of items, including a 17th-century Flemish painting, a meteorite, a taxidermied peacock, and personal memorabilia, all displayed without explanatory labels in a large, warehouse-like space.
The Museum of Fine Arts, Houston, has released a comprehensive exhibition catalogue for 'Frida: The Making of an Icon,' which investigates the posthumous transformation of Frida Kahlo from a niche painter into a global cultural phenomenon. The publication features eleven scholarly essays that deconstruct the various identities attributed to Kahlo—from the political activist and feminist martyr to the disabled artist—while debunking common myths regarding her relationship with Surrealism and her husband, Diego Rivera.
Artist Ektor Rivera has created a painting titled "The Discovery of Americans" (2025) that reimagines Emanuel Leutze's "Washington Crossing the Delaware" to celebrate Puerto Rican cultural figures, with Bad Bunny at the center. The work was commissioned by Miami art collector Seth Goldberg as a response to conservative criticism over Bad Bunny being selected to perform at the Super Bowl halftime show. The five-by-eight-foot painting places George Washington in the background while Puerto Rican icons including Jennifer Lopez, Ricky Martin, and Roberto Clemente take center stage, with Bad Bunny draped in the Puerto Rican flag. The artwork has garnered over 2.3 million views on Instagram and Facebook.
The Weyburn Art Gallery in Saskatchewan is presenting a dual exhibition running through the end of June, featuring two complementary shows. The first, 'Omentum: A look into the Indigenous Experience of the 21st Century- Exhibition Series, 2019' by Nehiyawak-Métis artist John Brady McDonald, comprises ten paintings that address themes such as Missing and Murdered Indigenous Women, cultural appropriation, residential school legacies, and the murder of Colten Boushie. Each painting was personally named by an influential Indigenous figure, including Isaac Murdoch, Rosanna Deerchild, and Dr. Evan Adams. The second exhibition draws from the City of Weyburn’s Permanent Collection, showcasing works by Indigenous artists Michael Lonechild, Ken Lonechild, and Mike Keepness, which explore identity, place, and memory.
"Ein Mal im Jahr: Schock-Trauma!"
Artist Nik Nowak is exploring the "Sound Horeg" phenomenon in East Java, Indonesia, where massive DIY loudspeaker systems are mounted on trucks and boats for extreme mobile discos. These parades, characterized by towering walls of speakers and intense bass, represent a global evolution of sound culture influenced by social media rather than traditional folklore. Nowak's research into these unregulated, high-tech spectacles has culminated in a new body of work featuring sculptures and photographs.
The New Mexico Museum of Art has launched "O’Powa O’Meng: The Art and Legacy of Jody Folwell," the first solo exhibition dedicated to an Indigenous woman in the institution's history. This career retrospective, organized in collaboration with the Minneapolis Institute of Art and the Fralin Museum of Art, features over 30 works by the Santa Clara Pueblo potter. The display includes a newly debuted piece, "Buffalo Hunt," and highlights Folwell’s innovative use of relief techniques and narrative surfaces that address contemporary political and social issues.
Wie die DDR-Schürze zum Italo-Luxus wurde
Italian luxury label Miu Miu has released dresses for summer 2026 that resemble 1980s East German kitchen aprons, with prices reaching up to €12,000 for crystal-embroidered versions. The collection debuted on the Paris runway in October, where actress Sandra Hüller opened the show in robust workwear, evoking factory workers from the former GDR. Designer Miuccia Prada, a former member of the Italian Communist Party, drew inspiration from Helga Paris's 1984 photo series "Frauen bei der Arbeit" (Women at Work), which documented female laborers in East Berlin's VEB Treffmodelle textile factory.
Bellarmine Hall Galleries at Fairfield University Art Museum will host an exhibition from September 18 to December 12, 2026, exploring 'Egyptomania'—the 19th-century European fascination with ancient Egyptian art and culture. The show features paintings, prints, photographs, and decorative art from the early 19th century to the present, including works like Charles-Théodore Frère's *Along the Nile* (ca. 1870). Curated by Megan Paqua, the exhibition examines how Egyptian symbols and motifs were adopted, exoticized, and commercialized, often erasing the ancient Egyptian people themselves. It aims to contrast simplified or stereotypical narratives with current archaeological understanding.
A new museum called Pole Bitvy (Battlefield) has opened in the Russian-occupied Ukrainian city of Mariupol, glorifying Russia's full-scale invasion and linking it to the Soviet Union's victory in World War II. Russian officials, including senator Vladimir Yakushev and project head Sergei Ladochkin, presented the museum as a symbol of liberation from 'neo-Nazis,' while Ukrainian officials condemn it as an 'entertainment pavilion on bones' in a city where tens of thousands died during the 2022 siege.
A group of artists, curators, and gallerists from Xinjiang, operating anonymously as the collective Yixak, have publicly criticized the Beijing exhibition "Greetings" held at the Maca Art Center from March to June 2025. The show, featuring works by Han Chinese artist Dan Er, focused on her travels through Xinjiang and its heritage arts. Yixak accuses the exhibition of cultural appropriation, misrepresentation, and reinforcing ethnic stereotypes, including conflating distinct ethnic cultures, stripping traditional Adras textile patterns of context, and mislabeling Xinjiang traditions. The collective also claims the show failed to credit local collaborators and excluded Xinjiang communities. Both Dan Er and Maca declined to comment, citing "irresistible factors."
The article examines a controversy that erupted at the Venice Biennale, centered on a work by an American artist that critics say appropriates Indigenous imagery without proper consultation or credit. The dispute has drawn sharp reactions from Native American artists and activists, who accuse the organizers of perpetuating colonial attitudes in the art world.