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The Marcel Duchamps That Got Away: On Collecting His Work and the Sprawling MoMA Show

The article recounts the author's personal experience as a collector who passed up the opportunity to buy a complete set of Marcel Duchamp's readymades at a 2002 Phillips de Pury and Luxembourg auction. The set, editioned by dealer Arturo Schwartz in 1964, included iconic works like *Fountain* and *Bicycle Wheel*, but the sale was a financial failure, with many pieces bought-in or selling for far below expectations. The author later acquired some of the unsold works privately. The piece is framed around the concurrent Duchamp exhibitions at the Museum of Modern Art and Gagosian.

Picasso Painting That Cost S. I. Newhouse a MoMA Board Position Heads to Christie’s for $55 M.

Christie’s New York will auction 16 masterpieces from the collection of late Condé Nast magnate S. I. Newhouse on May 18, with an estimated total of $450 million. The highlight is Pablo Picasso’s Cubist painting *Homme à la guitare* (1913), estimated at $35–55 million, which Newhouse acquired in 2000 for $10 million after MoMA sold it from its collection. Newhouse, then a MoMA board member, violated museum policy by buying the work and subsequently resigned from the board.

Bruno Bischofberger, Art Dealer of Stars Like Andy Warhol and Jean-Michel Basquiat, Dies at 86

Bruno Bischofberger, the legendary Swiss art dealer who championed American artists like Andy Warhol and Jean-Michel Basquiat in Europe, has died at age 86. His Zurich-based gallery announced his death on Saturday. Bischofberger founded his eponymous gallery in 1963, which became one of Switzerland's most important blue-chip art spaces. He forged deep personal and professional relationships with artists, including acquiring a stake in Warhol's Interview magazine, producing Warhol's film L'amour, and famously proposing the collaborative paintings between Warhol and Basquiat in 1984. Bischofberger also maintained a decades-long tradition of placing advertisements on the back page of every Artforum issue.

Why did Van Gogh sign his paintings as ‘Vincent’?

Art historian Julia Engelmayer has published a study titled 'Simply ‘Vincent’: An Overview of Van Gogh’s Signed Paintings' on the Van Gogh Museum's website, analyzing why and how Vincent van Gogh signed his works. The research reveals that only 133 of his 840 surviving paintings bear a signature (16%), an unusually low proportion for a 19th-century artist. Van Gogh signed with only his first name due to strained family relations and the difficulty non-Dutch speakers had pronouncing his surname. The study also highlights his predominant use of red signatures (on 75 works), angled signatures on over half of his signed pieces, and a distinctive horseshoe-shaped 'V' used during his Arles period.

‘The story can be almost as important as the piece itself’: philanthropist Christian Levett on his approach to collecting

Philanthropist and collector Christian Levett, who opened the Mougins Museum of Classical Art in 2011 in southern France, closed that institution in 2023 and replaced it with Female Artists of the Mougins Museum, reflecting his growing focus on abstraction by women artists. Levett, a former investment manager, now owns around 1,700 works spanning antiquity to contemporary art, with significant holdings in post-war American art, African cutting-edge works, and the Zero movement. He recently bought Françoise Gilot's 1942 painting 'Geneviève Pensive' privately through Christie's and will speak at Tefaf Talks in New York on a panel titled 'Collecting with a Mission for Public Access.'

A tale of two Annas: Van Gogh’s favourite Whistler painting stars in Tate Britain show

Tate Britain will open a major exhibition titled *James McNeill Whistler* on 21 May, running through 27 September, before traveling to the Van Gogh Museum in Amsterdam (16 October–10 January 2027) under the subtitle *Dandy and Disrupter*. The show’s centerpiece is Whistler’s iconic *Arrangement in Grey and Black no. 1* (commonly known as *Portrait of the Painter's Mother*), on loan from the Musée d’Orsay in Paris and displayed in its original frame designed by the artist. The article explores Vincent van Gogh’s admiration for the painting—he wrote to his sister Wil in 1889 that it reminded him of their own mother—and traces the work’s connections to the Goupil gallery (later Boussod & Valadon), where both Vincent and his brother Theo worked.

‘It’s a love letter’: exhibition pays tribute to Frank Gehry’s lesser-known works

Gagosian Gallery in Beverly Hills has opened an exhibition titled "Frank Gehry" showcasing the architect's lesser-known sculptural works, including fish lamps, a crocodile, snakes, and a stainless steel bear. Curated by Deborah McLeod, a personal friend of Gehry, the show celebrates his non-architectural creations that explore animal forms and light, with pieces like the 7-foot-long "Bear With Us" and fish lamps using LED bulbs. The exhibition serves as a tribute following Gehry's death in 2025 at age 96.

‘Of course I accepted!’ Angel Otero on Bad Bunny – and bringing some Puerto Rican flair to Somerset

Angel Otero, a Puerto Rican artist based in Somerset, discusses his emotional collaboration with musician Bad Bunny on the stage set "La Casita" for his 31-show residency in Puerto Rico. Otero's new solo exhibition at Hauser & Wirth Somerset features large-scale, semi-abstract paintings that draw from his childhood memories in Santurce, San Juan, including motifs like a pink vanity cabinet, birdcages, and a turbulent sea. His signature technique involves applying paint skins—dried sheets of oil paint on Perspex—to canvas, creating layered, sculptural surfaces. The show includes a diptych based on a photograph of Otero and his grandmother, marking his most figurative work to date.

Paul McCarthy: ‘The world is now an extreme absurdity. The work is a reaction to that’

Paul McCarthy, the 80-year-old American artist known for his transgressive critiques of consumer culture, has opened a new exhibition titled "SS EE Saint Santa Eva Elf" at Hauser & Wirth in Paris. The show features large-scale drawings and a six-channel video installation created during filmed performances with his long-term collaborator, German actress Lilith Stangenberg, who plays the Elf. McCarthy revisits his iconic Santa Claus motif, portraying him as a dark, psychotic figure—the "god of capitalism and consumption." The exhibition also includes earlier drawings made with Stangenberg at Bowman Hal gallery in Madrid. The interview reveals that McCarthy's home and studios in Los Angeles were destroyed by wildfires, resulting in the loss of art, drawings, notebooks, and books, and the cancellation of a planned London show.

Rare early photographs reveal lost sites featured in Van Gogh’s paintings

Two rare photographic albums taken by art critic Gustave Coquiot in 1922 have been acquired by the newly established Van Gogh Academy in Auvers-sur-Oise, France, and are now on display. The images capture many of the sites in Arles that Vincent van Gogh painted in the late 1880s, including the Yellow House, the Langlois Bridge, and the Rhône riverbank. Several of these locations were later destroyed during World War II or by modernization, making Coquiot's photographs valuable historical records of Van Gogh's original subjects.

Zoe Leonard Departs Hauser & Wirth for New York’s Maxwell Graham Gallery

Zoe Leonard, a celebrated conceptual artist whose work will appear at the Venice Biennale next week, has left Hauser & Wirth—a global gallery with 14 locations—to join Maxwell Graham, a smaller New York-based gallery known for spare conceptual presentations. Leonard will continue to be represented by her longtime galleries, Cologne’s Galeria Gisela Capitain and Milan’s Raffaella Cortese. Maxwell Graham staged its first Leonard exhibition last year with “Display,” featuring photographs of historical objects in museums. Leonard is the second artist to depart Hauser & Wirth in the past year, following George Condo’s exit in November.

The 11 Exhibitions to See in May 2026

ArtReview's editors have curated a list of 11 must-see exhibitions worldwide for May 2026, excluding Venice. Highlights include Audie Murray's solo show at april april in Pittsburgh, featuring works made with her own hair and breast milk; Delcy Morelos's monumental earthwork 'origo' at the Barbican Sculpture Court in London; and Bold Tendencies' 20th anniversary season in Peckham, titled 'Euphoria', with new commissions across multiple disciplines.

‘This is mine, I own it’: how Tracey Emin and Frida Kahlo inspired me to make meaning out of pain

The article is a personal essay by a writer who, after undergoing a colectomy in 2023, found inspiration in Tracey Emin's unflinching self-portraiture following her 2020 cancer diagnosis. The author describes taking her own post-surgery photographs, echoing Emin's mantra "This is mine, I own it," and reflects on Emin's current work, including the Tate Modern exhibition and paintings like "I watched Myself die and come alive" (2023) and "Barbed Wire Stitches" (2024). The essay also connects Emin's approach to that of Frida Kahlo, whose retrospective is upcoming at Tate.

Valie Export, Groundbreaking Feminist Artist Who Questioned the Nature of Art, Dies at 85

Valie Export, the pioneering Austrian feminist artist known for challenging the conventions of art and cinema through body-centered, tactile works, died on May 14 at age 85, three days before her birthday. Her death was confirmed by Thaddaeus Ropac Gallery, which represents her. Over six decades, Export created influential works such as "TAP and TOUCH CINEMA" (1968) and "Action Pants: Genital Panic" (1968), using her own body to question gender norms and the nature of film. Born Waltraud Lehner in Linz, she reinvented herself as VALIE EXPORT in 1967, a name symbolizing her exportation of personal ideas. She was associated with the Viennese Actionists but developed her own expanded cinema practice, producing works like "Abstract Film No. 1" (1967–68) that redefined the medium.

In Pictures: New Museum curator Gary Carrion-Murayari’s Frieze favourites

New Museum curator Gary Carrion-Murayari shares his personal highlights from the Frieze New York art fair, selecting works by artists including Arthur Simms, Haegue Yang, Abel Rodriguez and Aycoobo-Wilson Rodríguez, Sung Tieu, Maryam Hoseini, Pedro Neves, and Melvin Way. Each pick is accompanied by a brief commentary explaining why the work resonates with him, ranging from underappreciated talents to artists featured in the 2024 Venice Biennale.

Beer With a Painter: Keith Mayerson

Hyperallergic interviews Los Angeles-based painter Keith Mayerson, who discusses his ongoing 'My American Dream' series—a cosmology of paintings blending American identity, activism, and popular culture. The conversation covers his early influences from comics, the Muppets, and Hunter S. Thompson, his transition from cartooning to painting, and his vibratory, swirling brushwork. Mayerson's work has been featured in the 2014 Whitney Biennial and is currently on view at the Aspen Art Museum and the Pollock-Krasner House.

The Defining Themes of Today’s Biennial Art

The article analyzes the defining themes and styles of the past four years in the international biennial circuit, based on a survey of 130 biennials. It identifies a core group of artists who appeared most frequently, including Ali Eyal, Apichatpong Weerasethakul, Carolina Caycedo, Kapwani Kiwanga, and Tuan Andrew Nguyen, among others. Many of these artists are also featured in the upcoming 61st Venice Biennale curated by the late Koyo Kouoh. The piece categorizes their work under two broad themes: "Post-Colonial Post-Conceptualism," which involves poetic engagement with colonial history and artifacts, and "Families and Networks," where artists explore personal and political family histories.

David Hockney décroche la lune dans une lumineuse exposition gratuite à Paris

David Hockney presents "The Moon Room," a series of fifteen iPad drawings of full moons created during the 2020 lockdown, at Galerie Lelong in Paris until May 7, 2026. The exhibition, free and open to the public, features nocturnal landscapes Hockney painted from his farm in Normandy, inspired by Maupassant's "Clair de lune" and his own nightly observations. The works were first shown at the Musée des Beaux-Arts de Rouen in 2024 and later at the Fondation Louis Vuitton.

'Trusting that first reaction is important': Nacho Polo and Robert Onuska on the process of collecting

Nacho Polo and Robert Onuska, co-founders of the design gallery Studiotwentyseven, discuss their art collection in an interview with The Art Newspaper. Housed in their Tribeca apartment, the collection spans painting, sculpture, and photography with an emphasis on materiality and sculptural form. They recount their first acquisition—Ron Gorchov's *Autolykos* (2019)—and their most recent purchase, Alex Katz's *Nine Women 5* (2009). The couple also shares their instinctive buying process, a regret over missing a Nick Cave sculpture, and their anticipation for the Jean and Terry de Gunzburg collection at Sotheby's this spring.

Frank Stella’s Personal Collection of Navajo Textiles Goes on View for the First Time

A selection of Navajo textiles from the personal collection of minimalist artist Frank Stella is being exhibited and sold for the first time. The 55 textiles, dating from the late 19th and early 20th centuries, will be on view at Arader Galleries in New York from May 15 to June 10, then travel to Peter Pap Rugs in New Hampshire in June. Priced between $6,500 and $25,000, the collection includes a large 19th-century blanket that Stella lent to a seminal 1972 exhibition at LACMA. Stella began collecting these works in the mid-1960s after being introduced to Navajo art by Donald Judd and Tony Berlant.

“Primary Structures,” Turns 60

On April 28, 1966, The New York Times published a review by conservative critic Hilton Kramer of the Jewish Museum's exhibition “Primary Structures,” organized by curator Kynaston McShine. Kramer, disdainful of contemporary art, described the 42 American and British artists as rejecting personal expression and subjective inflection, yet he acknowledged the show as the first comprehensive glimpse of a style that would define the 1960s. The exhibition featured then-little-known artists including Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, Walter De Maria, Robert Morris, Anne Truitt, John McCracken, Larry Bell, Robert Smithson, Judy Chicago, Philip King, Michael Bolus, and David Annesley, and is now recognized as the ur-survey of Minimalism—a term McShine deliberately avoided.

Mom, I'm Gonna Be an Artist!

Hyperallergic's Saturday newsletter, edited by Valentina Di Liscia, rounds up a week of art-world activity marked by protests and resistance. Staff Writer Isa Farfan asked 15 artists to share advice from their mothers for Mother's Day, featuring responses from Pat Oleszko, whose work is in the Whitney Biennial. The newsletter also covers editor-in-chief Hakim Bishara's report on a historic strike for Palestine and workers' rights at the Venice Biennale, where dozens of national pavilions shut down, and Editor-at-Large Hrag Vartanian's review of the central exhibition "In Minor Keys." Additional stories include Damien Davis on artists and consignment agreements, Matt Stromberg on the LA Art Book Fair, a protest against Jeff Bezos at the Met Gala, MoMA PS1's upcoming Teresa Margolles survey, and a picket at the American Folk Art Museum.

Colleen Barry Wants You to Believe in Pictures Again

Artist Colleen Barry presents her exhibition “Iconophilia” at Half Gallery in the East Village, featuring 14 recent paintings that explore motherhood, tenderness, and the complexity of image-making. The works include mythological references like the Capitoline Wolf and juxtapositions of ancient and modern imagery, such as a portrait of Grace Jones combined with the Roman god Janus. Barry, who grew up working class in New York and learned painting from her father, aims to counter contemporary distrust of images—especially among her children—by offering a reverent, iconophilic approach to visual culture.

Nicholas Pope, sculptor whose career came in two acts, 1949–2026

Nicholas Pope, a British sculptor known for his organic, post-minimalist works, has died at age 76. His career unfolded in two distinct acts: an early phase in the 1970s producing roughly-hewn wooden columns like *Oak Tree Column* (1973) and *Drooping Column* (1975), which earned him a spot in the British Pavilion at the 1980 Venice Biennale, followed by a decades-long hiatus after contracting viral encephalitis in Tanzania. He later returned to sculpture with brighter, brasher works in ceramic, glass, and felt, including *The Apostles Speaking in Tongues Lit By Their Own Lamps* (1993–96) and collaborations like *The Conundrum of the Chalices of the Seven Deadly Sins and Seven Virtues* (2015) with James Maskrey.

Re-Air: The Young Painter Curators Are Rushing to Work With

Artnet News resurfaces an interview with painter Taína H. Cruz, who is featured in both the Whitney Biennial and MoMA PS1's Greater New York exhibition. Cruz, born in 1998 and a recent MFA graduate from Yale School of Painting, creates moody paintings often depicting Black female figures, drawing on African American and Caribbean folklore, horror, fantasy, and personal imagery. The interview, conducted by Ben Davis, explores her influences and her response to the sudden surge of attention from major institutions.

film wealth consultant fanny pereire devil wears prada

Fanny Pereire is a fine art coordinator for film and television, responsible for curating the art seen in the homes and offices of fictional characters, particularly the ultra-wealthy. Her work spans productions like *The Devil Wears Prada 2*, *Succession*, *Industry*, and *The Menu*, where she sources, reproduces, and often destroys artworks to ensure authenticity and copyright compliance. She typically uses high-quality replicas for expensive pieces and oversees their destruction after filming.

Hulda Guzmán review – lizards and ghosts gather for an art freakout in the rainforest

Hulda Guzmán's first institutional exhibition in Europe, "Please Awake – Asked Nature Kindly," is on view at Turner Contemporary in Margate, UK. The show features the Dominican artist's ultra-colorful, psychedelic jungle paintings that blend art historical references—from Japanese ukiyo-e prints to pointillism and symbolism—with personal mythology, demons, spirits, and lush tropical landscapes. The works are drawn from her life in the Dominican rainforest, where she lives and works in a studio built by her architect father.

Gerhard Richter ‘Candle’ From Estate of Revered Dealer Marian Goodman Falls Short of a Record at $35.1 M.

A Gerhard Richter painting, *Kerze (Candle)* (1982), from the estate of the late dealer Marian Goodman sold at Christie’s on Wednesday evening for $35.1 million (with fees), falling short of the artist’s $46.3 million record set over a decade ago. The lot, estimated at $35–$50 million, was guaranteed by a third party and drew a hammer price of $30 million after less than two minutes of subdued bidding. Goodman, who represented Richter for decades until he left for David Zwirner in 2022, had purchased the work directly from the artist in 1989 and held it for nearly 40 years. The painting was one of eight Richter works from Goodman’s estate offered in the combined “Marian’s Richters & 21st Century Evening Sale.”

Megadealer Larry Gagosian Is the Subject of Unauthorized Documentary In the Works from Director Barry Avrich

Director Barry Avrich is producing an unauthorized documentary titled "Shadow Man: Inside The Secret World of Larry Gagosian" about the legendary art dealer. The film, confirmed by Avrich via email, promises to feature interviews with former employees and artists sharing insider stories about Gagosian's rise from selling posters on LA streets to running a global gallery empire with 18 locations. Avrich previously directed art-world documentaries including "Made You Look: A True Story About Fake Art" about the Knoedler & Co. forgery scandal and "Blurred Lines: Inside the Art World."

The Interview: Ei Arakawa-Nash

Ei Arakawa-Nash, a Japanese American performance artist, was selected to represent Japan at the 61st Venice Biennale, becoming the first non-Japanese national to do so in a solo presentation. This follows his first solo museum exhibition, "Paintings Are Popstars," at Tokyo's National Art Center in 2024, which was also the center's first solo show devoted to a performance artist. In an interview with ArtReview, Arakawa-Nash discusses his naturalization as a U.S. citizen, his complex relationship with national identity, and his upcoming Venice exhibition titled "Grass Babies, Moon Babies," cocurated by Lisa Horikawa and Takahashi Mizuki, which will explore themes of care and reparation using babies as a central motif.