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The Philadelphia Museum of Art has opened "Boom: Art and Design in the 1940s," a major survey featuring over 250 works including painting, photography, jewelry, ceramics, fashion, and furniture. The exhibition draws entirely from the museum's own collection, with around 40 percent of the works never exhibited before. It includes early pieces by celebrated figures like Jackson Pollock and Lee Krasner, as well as works by queer artists such as Paul Cadmus, Beauford Delaney, and Romaine Brooks, alongside self-taught artist Horace Pippin. Chief curator Jessica Smith emphasizes that the show aims to present a more complex, multivalent narrative of the decade beyond the dominant story of Abstract Expressionism.

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Restorer Bruno Valentinetti admitted to painting Italian Prime Minister Giorgia Meloni's face onto an angel fresco at the Basilica of San Lorenzo in Rome, sparking backlash from lawmakers who called it "covert propaganda." The Vatican ordered the image removed, and Valentinetti complied, erasing his homage. Experts are now studying photographs of the original angel to guide a new restoration. Separately, President Trump announced plans to install a repaired statue of Christopher Columbus on the White House grounds, and an open letter with 500 signatories demanded curatorial independence at the Art Gallery of Ontario after it declined to acquire a Nan Goldin work.

Claude Cahun and Marcel Moore: Surrealist Lovers Who Defied the German Occupation

Claude Cahun and Marcel Moore: Surrealist Lovers Who Defied the German Occupation

Claude Cahun and Marcel Moore, two Surrealist artists and life partners, are the focus of a new exhibition at the Contemporary Art Museum of St. Louis. The show, titled "And I Saw New Heavens and a New Earth," presents their collaborative work, including intimate portraits and photomontages, and highlights their daring resistance activities, such as creating anti-Nazi propaganda during the German occupation of Jersey.

Katherine El-Salahi, anti-apartheid activist, anthropologist and publisher, 1945–2026

Katherine El-Salahi, an anti-apartheid activist, anthropologist, and publisher, has died at age 81. Born Katherine Levine, she studied at Cambridge and SOAS before joining the clandestine group London Recruits in 1970, carrying out leaflet bomb propaganda and running guns into South Africa. She later became instrumental in the career of her husband, Sudanese painter Ibrahim El-Salahi, organizing his landmark 2013 retrospective at Tate Modern, building his archive, and securing gallery representation with Vigo Gallery.

There Has Never Been an Apolitical Venice Biennale

The Venice Biennale, with its national pavilion structure, has always been a platform for political expression and soft power, a reality evident from its early 20th-century origins. Contemporary critic Arturo Lancellotti's 1909 review of the German and British pavilions was steeped in geopolitical context, revealing how national artistic displays were interpreted through the lens of imperial power and military alliances.

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Newly uncovered documents from the Museum of Modern Art’s archives confirm that the Franco regime in Spain attempted to censor Robert Motherwell’s painting *Elegy to the Spanish Republic No. 35* (1954–58) before its scheduled 1958 exhibition in Madrid. The painting was part of MoMA’s traveling show “The New American Painting,” which introduced Abstract Expressionism to Europe. Spanish authorities demanded Motherwell remove the phrase “Spanish Republic” from the title, but the artist refused, leading to the work’s exclusion from the exhibition. The documents, reviewed by *El País*, also reveal that Catalan artist Antoni Tàpies boycotted state-sanctioned shows, calling the regime’s cultural propaganda “scandalous.”

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This article explores the rediscovery of Roman sculpture during the Renaissance and its profound influence on artists like Raphael, Donatello, Michelangelo, and Leonardo da Vinci. It details how Roman sculptors, inspired by Greek methods after the conquest of Greece in 146 B.C.E., created highly realistic works that served both artistic and political purposes, glorifying emperors and reinforcing imperial power. The piece highlights six iconic Roman sculptures—including the Equestrian Statue of Marcus Aurelius, the Colossus of Constantine, Trajan's Column, and the Augustus of Prima Porta—describing their historical context, artistic features, and enduring legacy.

‘An open letter to the nation’: National Gallery of Art reckons with America at 250

The National Gallery of Art in Washington D.C. has launched "Dear America: Artists Explore the American Experience," a major exhibition marking the United States' 250th anniversary. Featuring over 100 works on paper by 95 artists, the show eschews traditional patriotic tropes in favor of a nuanced, self-critical look at the nation's history. Organized around the themes of land, community, and freedom, the exhibition juxtaposes iconic imagery from artists like Roy Lichtenstein and Thomas Moran with provocative contemporary perspectives from Zanele Muholi and Carrie Mae Weems.

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Leonard Lauder, the 85-year-old chairman emeritus of Estée Lauder Companies, has amassed a collection of approximately 130,000 postcards, many of which are a promised gift to the Museum of Fine Arts, Boston. A selection of 350 propagandist postcards from the World War I and World War II eras is now featured in a new exhibition at the MFA titled “The Art of Influence: Propaganda Postcards from the Era of World Wars” (through January 21), accompanied by a publication. Lauder began collecting as a boarding school student in Miami Beach, drawn to the idealized images and vibrant colors of Art Deco hotel postcards, and later expanded to historical and propagandist cards that he describes as “living history.”

One Last Chance to See Dürer's Monumental Print in NYC

Albrecht Dürer’s monumental "Triumphal Arch," a 13-foot-tall woodcut commissioned by Holy Roman Emperor Maximilian I in 1512, is entering long-term storage at the New York Public Library this fall. The work has been a centerpiece of the library’s Polonsky Treasures exhibition since 2021, but its extreme fragility and age necessitate its removal from public view on October 18.

Anne Boleyn Exhibition at Hever Castle

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Hever Castle has launched "Capturing a Queen: The Image of Anne Boleyn," a landmark exhibition exploring the visual legacy of King Henry VIII’s second wife at her childhood home. The show brings together an unprecedented collection of portraits, woodcuts, and costumes to challenge the long-held myth that all contemporary likenesses of Anne were destroyed after her execution. Key highlights include infrared analysis of the 1583 "Rose" Portrait and research suggesting that some famous posthumous depictions actually blended her features with those of her daughter, Elizabeth I, to solidify Tudor legitimacy.

Forgotten 'environment' of 11 women artists brought back to life at Leeum

The Leeum Museum of Art in Seoul has opened "Inside other spaces: Environments by women artists 1956-1976," an exhibition restoring immersive artworks by 11 women artists from Asia, Europe, and South America, including Jung Kang-ja, Judy Chicago, Tsuruko Yamazaki, and Aleksandra Kasuba. The show revives pieces that were often dismantled after their original displays, such as Jung Kang-ja's "Incorporeal Exhibition," which was destroyed in 1970 after being deemed political propaganda under South Korea's authoritarian regime. Curators Andrea Lissoni and Marina Pugliese, who first organized the project at Haus Der Kunst in Munich, worked with researchers to reconstruct the works using archival materials, correspondence, and blueprints.

The Disturbing Lessons of the 1937 ‘Degenerate Art’ Show

The article examines the historical context and enduring relevance of the 1937 Nazi-organized 'Degenerate Art Show' (Entartete Kunst) in Munich, which displayed hundreds of works by modern artists like George Grosz, Wassily Kandinsky, and Paul Klee as examples of moral and cultural corruption. It traces the concept's roots in 19th-century Social Darwinism, its adoption by Adolf Hitler and the Nazi Party to denigrate modern art, and the gradual escalation of cultural purification policies after Hitler seized power in 1933, including the firing of museum directors and the construction of the Haus der Deutschen Kunst.

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An Alexander Calder mobile, *Big Horizontal Red* (1956), estimated at $5–7 million, is set for auction at Christie’s on May 12. The work’s provenance traces through Perls Galleries, the Texas Institute for Rehabilitation and Research, and a private New York collection, but a source reveals that its 1997 purchaser, Patricia Halterman, was the granddaughter of Magda Goebbels, wife of Nazi propaganda minister Joseph Goebbels. Christie’s declined to comment on the consignors but stated it conducted careful evaluation and diligence.

Were the Popes Art History’s Ultimate Collectors?

A new exhibition, "Bernini i Barberini," at Rome's Palazzo Barberini explores the profound artistic partnership between Pope Urban VIII and the young sculptor Gian Lorenzo Bernini. This relationship, beginning in 1623, led to decades of Baroque masterpieces that transformed Rome's architecture and urban design, showcasing the papacy's use of art as a tool of power and propaganda.

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Olympic officials blocked Haiti's plan to feature a painting of revolutionary leader Toussaint Louverture on its team uniforms for the 2026 Winter Olympics in Milan, citing a rule against political propaganda. Designer Stella Jean, with a team of artisans in Rome, hand-painted a redesigned version that removed Louverture and the snake but kept the horse and landscape, delivering the uniforms just two days before the opening ceremony.

The message behind the US pavilion at the Venice Biennale

The article previews the 61st Venice Biennale, opening May 9 and running through November 22, highlighting early controversies. The five-person Golden Lion jury, led by Brazilian curator Solange Farkas, resigned after declaring they would not consider pavilions from countries under International Criminal Court investigation, targeting the Israel pavilion and its artist Belu-Simion Fainaru. Separately, the US pavilion has drawn scrutiny from the New York Times over its selection process, with commissioner Jenni Parido (a former pet food store owner) tapping curator Jeffrey Uslip and sculptor Alma Allen, bypassing traditional funders like the Ford and Mellon foundations.

This Museum Show Will Make You Question Whether You’re Still Human

The New Museum in New York has opened "New Humans: Memories of the Future," an exhibition curated by Chief Curator Massimiliano Gioni that explores a century of art predicting the fusion of humans and machines. The show features works by artists including Anicka Yi, Francis Picabia, Constantin Brancusi, and Marcel Duchamp, alongside robots and technological artifacts that blur the boundaries between bodies and technology. The exhibition is housed within OMA's newly expanded museum space on the Bowery.

'Art is just about making trouble': Inside Auckland Art Gallery's bold new show

Auckland Art Gallery is preparing to open "Forever Tomorrow: Chinese Art Now," a major exhibition of contemporary Chinese art curated by Hutch Wilco. The show features works from the White Rabbit Collection in Sydney, including a massive 7-meter-high stone sculpture by Xu Zhen, paintings by Shang Liang, and photography by Pixy Liao, who recently won a 2026 Guggenheim Fellowship. Wilco spent three years organizing the exhibition, which includes playful sculptures, paintings, and multimedia works, with significant logistical challenges in transporting large pieces from China.

Remembering Erik Bulatov, the Soviet artist who reframed propaganda

Erik Bulatov, the Soviet-born artist known for overlaying Communist Party slogans onto luminous landscapes, died in Paris on 9 November. A key figure in the underground art movement of the 1970s and 80s, he was part of the Sretensky Group alongside Ilya Kabakov and others, navigating state censorship by illustrating children's books. His most famous work, *Glory to the CPSU* (1975), sold for $2.1m in 2008, and in 2025 he was ranked the most expensive living Russian artist by The Art Newspaper Russia.

When the Ukraine War Continues

A major exhibition titled 'Looking into the Gaps' at the Jam Factory in Lviv, Ukraine, curated by artist Nikita Kadan, explores the complex psychological and social landscape of Ukraine during the ongoing war. The show features Vladislav Plisetskiy's pivotal documentary film 'What Will You Do When the War Continues?' (2023), which traces his journey from Kyiv's queer anarchist scene to fighting on the front lines, alongside works by artists like Bohdana Kosmina that memorialize attacks on Ukrainian Roma communities.

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Conceptual artist Elias Marrow secretly installed an AI-generated artwork titled *Empty Plate* inside the National Museum Cardiff on October 29, where it hung for several hours before staff removed it. The framed digital print depicts a Welsh schoolboy holding a book and a blank plate, which Marrow says represents the state of Wales in 2025 and references Victorian charity propaganda. He described the act as 'participation without permission' rather than vandalism, and noted he used AI as part of the natural evolution of artistic tools.

Pussy Riot and FEMEN Join Forces in Punk Protest in Venice: ‘Russia Kills! Biennale Exhibits!’

On Wednesday morning, Pussy Riot and FEMEN led a protest outside the Russian Pavilion at the 2026 Venice Biennale, chanting slogans like “Russia kills! Biennale exhibits!” and “Blood is Russia’s art!” Dozens of protesters, some in pink balaclavas and others bare-chested with floral crowns, gathered in the Giardini under light rain, carrying guitars and blasting punk rock and hip-hop. The action was organized by Nadya Tolokonnikova and other Pussy Riot members alongside FEMEN, a Ukrainian-founded women’s movement. They released pink, yellow, and blue smoke, and Tolokonnikova criticized the Biennale for allowing Russian participation while artists who oppose the war in Ukraine are imprisoned. She proposed an alternative exhibition, “Resistance Imprisoned,” currently on view in Strasbourg, featuring incarcerated artists.

San Francisco Mural of Cesar Chavez Painted Over, Venice Mayor Warns Russian Pavilion Against Peddling Propaganda: Morning Links for March 20, 2026

A prominent mural of Cesar Chavez in San Francisco's Mission District was painted over by the building owner and the original artist in response to sexual abuse allegations against the late labor leader. The artwork, which had adorned the Latin Rock Music House, was removed as a direct statement against the confirmed allegations.

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The Victoria and Albert Museum in London has opened a major exhibition titled "Marie Antoinette Style," showcasing items from the French queen's life and death, including her final letter, a guillotine blade, and a plain linen chemise she wore in prison. The exhibition explores her legacy as a style icon and the public's enduring fascination with her execution during the French Revolution, featuring objects linked to her imprisonment and the macabre history of Madame Tussauds' Chamber of Horrors.

Pleasure, parody and propaganda: rethinking the art of illustration in a new history of the genre

D.B. Dowd's new book "Reading Pictures" offers a sweeping 400-page history of illustration, tracing the genre from the Diamond Sutra frontispiece in Tang China (AD868) to Molly Crabapple's Gaza reports in 2015. The book examines key works such as Jules Chéret's 1891 poster for the Alcazar d'Été Club, Stuart Davis's caustic covers for The Masses, and Duong Ngoc Canh's Vietnamese propaganda poster, arguing that illustrations are meant to be "read" rather than admired like museum paintings.

In Warsaw, the Poster Museum reopens and it is the oldest in the world

A Varsavia riapre il Museo del Manifesto ed è il più antico del mondo

The Poster Museum in Wilanów, a suburb of Warsaw, has reopened after a major conservation restoration co-financed by the Polish Ministry of Culture and National Heritage. Founded in 1968 as an autonomous institution from the National Museum in Warsaw, it is the oldest museum of its kind in the world. Its collection now holds approximately 63,000 posters from Poland and abroad, dating from the late 19th century to the present, including works by Pablo Picasso, Andy Warhol, and Stasys Eidrigevičius. The reopening exhibition, "Polish Posters: The Collection," features 240 works spanning 130 years of Polish urban life, covering themes from politics and propaganda to cinema, theater, music, and fashion. The museum also hosts the International Poster Biennale, founded in 1966, with the next edition scheduled for 2027.

Andreas Angelidakis: Escape Room

The Greek Ministry of Culture has selected artist Andreas Angelidakis to represent Greece at the 61st Venice Biennale in 2026. Angelidakis will present an installation titled "Escape Room" at the Greek Pavilion, curated by George Bekirakis with MOMUS as National Commissioner. The project reimagines Plato's allegory of the cave as an immersive environment addressing post-truth, nationalism, and digital illusions, while also confronting the troubled history of the Pavilion itself, including its 1934 inauguration amid the rise of fascism.

‘Art is an important way of depicting these atrocities’: London show shines a light on sexual violence in conflict

The Imperial War Museum (IWM) in London has opened "Unsilenced: Sexual Violence in Conflict," the first major UK museum exhibition to address the use of sexual violence as a weapon of war. Featuring video testimony from journalist Christina Lamb, the show draws on the IWM's collections and new testimonies from survivors, including propaganda posters, photographs by Lee Miller, and a newly acquired miniature Sonyeosang statue. Curators Maeve Underwood and Helen Upcraft re-examined the museum's holdings to uncover hidden narratives of sexual slavery and humiliation from World War II to the Russia-Ukraine war.

Craft Contemporary celebrates a legacy of creativity

Craft Contemporary will host its 2025 Benefit & Art Auction on May 10 at the museum in Los Angeles, honoring founder Edith R. Wyle (1918–1999) and contemporary artist Bari Ziperstein. Wyle, who opened the Egg & The Eye in 1965—a hybrid gallery and omelet restaurant—will receive the Legacy Award, while Ziperstein, known for ceramics exploring consumerism and propaganda, will receive the Visionary Award. The sold-out dinner is followed by a 1960s-themed afterparty with cocktails, music, a puppet show, and a drag performance.