Los Angeles’s Getty Center will close for renovations ahead of the 2028 Olympics. https://ift.tt/eH4zsYK

The Getty Center in Los Angeles has announced that it will temporarily close for renovation on March 15, 2027. According to the press release, the project will include “the most significant series of modernization initiatives since its 1997 opening.” The museum plans to reopen in spring 2028, just before Los Angeles welcomes the 2028 summer Olympics.

“In the coming years, guided by our commitment to All for Art, we will enhance the visitor experience across the Getty Center campus through reimagined spaces and new offerings, while prioritizing sustainability,” said Katherine E. Fleming, president and CEO of the J. Paul Getty Trust.

As part of the renovations, the Getty Center will introduce a series of yet-to-be-announced artist commissions, alongside the museum’s revitalized gallery spaces. Meanwhile, the museum will modernize its welcome hall with a new bookstore and retail shop. “This new space will allow us to pursue some new types of activities, possibly even more cutting-edge than our spaces here allow us to pursue,” Tim Whalen, vice president of institutional planning for the J. Paul Getty Trust, told the Los Angeles Times.

Around the campus, the museum is dedicated to increasing accessibility. This includes upgrades to the tram system and campus-wide improvements to utilities and public spaces. The institution has already begun some of these efforts, first with updates to the HVAC system, as part of the gallery’s commitment to sustainability. These changes will help the museum during an anticipated influx of visitors during the upcoming Olympic Games.

“Our mission has always been to make art accessible to our Los Angeles community and visitors from around the world,” said Fleming. “We look forward to welcoming visitors back in spring 2028, in time to celebrate the Summer Olympic and Paralympic Games in Los Angeles and experience our more accessible, resilient, and dynamic campus.”

The Getty will continue its exhibition schedule through spring 2027. Among the shows currently on view are “Photography and the Black Arts Movement, 1955–1985,” through June 14th, and “Virtue and Vice: Allegory in European Drawing,” through June 7th. During the renovation period, the museum will devote its full attention to the Getty Villa, a satellite museum modeled on a Roman villa. Typically, the Villa houses rare antiquities, but the Getty will present paintings in one of the galleries during this time.

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The 5 Best Booths at Art Cologne Palma Mallorca 2026 https://ift.tt/570Yl8O

In 2007, storied German art fair Art Cologne launched a new event in Palma, Mallorca. It only lasted one edition. Nearly 20 years later and they’re back for round two, with a splashy new art fair entitled Art Cologne Palma Mallorca, which runs through April 12, 2026.

This time, everything is different. Most notably, the local art scene is much stronger: 14 of the 88 galleries participating have spaces on the island.

The fair also arrives at a time of growth in the Balearic Islands’ art scene. Mega-gallery Hauser & Wirth has a space on neighboring island Menorca, and Ibiza’s Contemporary Art Now fair is now entering its fifth year. Mallorca has undoubtedly the most mature scene of the islands, but until now, it had not attempted another fair since 2007.

Enter Art Cologne Palma Mallorca 2026. While there will be plenty of appeal for Spanish collectors, its German roots are unmistakable. On the fair’s VIP day April 9th, one gallerist said the audience was overwhelmingly German, many of them second-home owners on the island. That creates a focused audience with serious expectations. High-value works, including a €1.3 million ($1.53 million) Anselm Kiefer at the booth of Berlin- and Palma-based gallery Kewenig, showed that the Art Cologne pedigree was in attendance.

In an interview, the fair’s artistic director Daniel Hug emphasized the importance of Mallorca’s local scene, while noting the event’s “German complexion.” “The quality of the young galleries here is on a par with what’s happening in Barcelona and Berlin,” he said. “It doesn’t make sense to do a fair in a place that can’t support it. This year will be the test.”

In keeping with its location, the galleries seemed to have a more laid-back buyer in mind than one who might visit Art Cologne’s German fair. Some visitors are wearing linen suits; others show up in flip-flops. Yet this does not seem like a fair aimed at brand-new buyers, so much as keen collectors in holiday mode.

Whether you’re browsing in person or following from afar, here are the five best booths from the fair.

Bastian

Booth G131

With works by Pablo Picasso, André Villers, Georgette Chadourne, and Juan Gyenes

One plate shows a grumpy pair of black eyebrows, with a gestural splodge of a long red nose. Another, more minimal design, depicts a simple sunflower in olive and noir. They are part of a set of 20 ceramic “Visage” plates by Pablo Picasso, on offer at Bastian’s booth for a total of around €400,000 ($469,456).

The gallery is also showing other Picasso ceramics, from owl-like jugs to urns with smiling faces, priced from €6,200 to €68,000 ($7,276–$79,807). Displayed in a vitrine at the front of the booth, they include both editioned and one-of-a-kind works. Three had already sold on the fair’s preview day.

“The main idea was to create a kind of immersive experience,” said Dr. Aeneas Bastian, the gallery’s director and noted Picasso expert. “We have printed works, exhibition posters, photographs, and a lot of ceramics.”

Picasso à la plage [Picasso at the Beach], 1940
Georgette Chadourne
BASTIAN

Black and white photos line the back of the booth, including images by André Villers and Georgette Chadourne. Several show Picasso in his workshop; others capture his public persona, during his later life in the South of France.

Bastian said the fair offers a chance to rethink Picasso’s later years in a Spanish beachside location, rather than a French one: “Picasso didn’t return while the Franco regime was still in Spain during his lifetime. He probably would have liked to be here or in other places in Spain but he stayed in French exile.”

Tête [Head], 1956
Pablo Picasso
BASTIAN

Pichet au vase [Pitcher with Vase], 1954
Pablo Picasso
BASTIAN

On preview day, Bastian was finding the fair’s visitors mostly focused on purchasing for their homes on the island, rather than for shipment elsewhere: “people are looking for artworks to live with.”

This echoed what many gallerists pointed to at the fair: “Increasingly it’s not just a vacation spot, it’s about a certain cultural life, going to museums, going to galleries… The art fair fits in very well,” as Bastian noted.

Baró Galeria

Booth G136

With works by Vhils, Néstor García, Daniel Arsham, Joana Vasconcelos, assume vivid astro focus, Mie Olise Kjærgaard, Mamali Shafah, and Domenico Gutknecht.

Brazilian gallery Baró, which has a space in Palma, has built its booth around the theme of “Slow collapse.” The presentation brings together artists from its roster, including Daniel Arsham and Joana Vasconcelos, alongside others such as Vhils and Mie Olise Kjærgaard. Through their work, the gallery explores “the transformation of collapse” and “its relation to the passage of time,” said Esmeralda Gómez, curator at the gallery.

That idea comes through clearly in the works by street artist Vhils, the tag of Portuguese artist Alexandre Farto. He carves into layers of stuck-together billboard posters to depict delicate facial features that seem to recede from the viewer. Even the furniture extends the apocalyptic energy: the gallery staff sits on yellow and silver hunks of reclaimed construction materials, by local artist and designer Sara Regal Alonso.

Hidden behind a wall is one of the booth’s most striking paintings, by Venezuelan artist Néstor García. The piece explores the extractivism of colonialist systems in Latin America. His fantastical landscape, painted as if a TV screen on a hammock spread horizontally across the wall, contrasts a contemporary symbol of relaxation against the reality of environmental destruction in his country.

García’s work, like pieces by several artists in the booth, is also included in Baró’s current exhibition at its Palma gallery, “Tirar del Hilo” (or “pull the thread”), which gathers contemporary perspectives on textiles, which is also a wider focus of the gallery. “We decided to build a bridge between what is happening in the gallery and the fair,” Gómez said.

Galeria Reus

Booth P317

With works by Daniel Roibal, José Fiol, Miquel Ponce, Karolina Albricht

Galeria Reus was born and bred in Mallorca and has been a major voice in the local gallery scene throughout its different iterations. Indeed, its principal, Fran Reus, is also the president of the local gallery association Art Palma Contemporani.

For Art Cologne Palma Mallorca, the gallery embraced its local role with a presentation titled “It’s A Home Game.” It chose to highlight artists with ties to the island, said gallery director and owner Raquel Victoria. Among them are massive green-hued paintings by Mallorcan artist José Fiol that are based on close-up views of Arthur Ashe and Björn Borg during a legendary Wimbledon final and priced at €4,200 ($4,929) each. The paintings also take inspiration from the experimental movie The Green Fog, overloading his works with the titular color as well as its spirit of homage (the film is pieced together from multiple archival sources). Victoria also pointed to a delectable confetti-like abstraction by young painter Daniel Roibal (priced at €8,000 ($9,389)) as another example of local talent.

Björn Borg, 2024
José Fiol
Galeria Reus

We Run Like Sparks Through the Stubble, 2023
Karolina Albricht
Galeria Reus

By preview day, the booth had already made several sales and was bustling with both its visitors and artists, suggesting that the format is working for local galleries, at least.

“Everyone is trying to improve the art on the island,” said Victoria. “Institutions, public, private—I think we’re in a good moment on the island.”

She also highlighted the standout location of the fair’s venue, the seaside Palau de Congressos, which flooded nearly every gallery’s walls with sunshine. “It’s not a normal art fair,” she added.

Wetterling Gallery

Booth G126

With works by Ylva Ceder, Bernar Venet, Nathalia Edenmont, Emma Hartman, Astrid Kruse Jensen, Jason Martin, Anna Pajak

As Art Cologne Palma Mallorca kicked off its VIP day, the city also unveiled a new sculpture installation by well-known French sculptor Bernar Venet outside the venue’s rather beautiful walls. Its spiky steel form, set against the maritime horizon that follows you around in Palma, is typical of the sculptor’s imposing conceptual works.

Perhaps less well known are Venet’s paintings, one of which appears at Swedish gallery Wetterling’s booth. In a purple, circular frame is a complex mathematical formula that purposely evades the viewer’s understanding in a distorted serif font, meticulous but heady.

The booth also presents a wide range of works by Swedish-Ukrainian artist Nathalia Edenmont, including both analog photography and sculpture. In an earlier series, she created large-scale portrait photos of her subjects in voluminous dresses exploding with flowers. More recently, she’s begun taking photos of goose eggs, their shells gently cracked but their insides not visible to the viewer. According to a gallery representative, these delicate works are a response to Edelmond’s own experience with fertility: a theme she continues in her sculptures in marble, onyx, tiger’s-eye, and jasper stone, each priced between €32,000 ($37,556) and €37,000 ($43,424).

These more established artists are shown alongside a younger group of mostly Scandinavian painters and photographers. On the booth’s outer wall, Emma Hartman presents cerebral oil-on-panel landscapes rendered in great washes of liquid oranges and purple (priced between €13,000 ($15,257) and €17,000 ($19,951)). Similarly calming, surreal spaces feature in Ylva Ceder’s pastel-hued paintings that play with perspective. Atmospheric analog photographs by Astrid Kruse Jensen (priced between €8,000 ($9,389) and €8,800 ($10,328)) and bright, graphic paintings exploring mystical spirituality by Anna Pajak (€5,500 ($6,455) each ) round out the presentation.

Kornfeld Galerie Berlin

Booth G237

With works by Charlie Stein, Johanna Reich, Olasunkanmi Akomolehin, O Bastardo, Jay Gard

Virtually Yours (Kiss), 2025
Charlie Stein
KORNFELD Galerie Berlin

Subjects of distance and intimacy run throughout Berlin-based gallery Kornfeld’s booth. First to make an impression is Charlie Stein’s Virtually Yours (Kiss) (2025), a cloudy lavender canvas depicting two bodies, covered entirely in black and pink puffer jackets, embracing one another. Completely anonymous beneath their cushioned surfaces, the figures are unable to fully touch each other, a metaphor for the isolation brought about by technology: even when deeply communicating, we’re distanced.

It’s one of several works in the booth by Stein, who was in residence last year at the CCA Andratx art center in Palma. Her slick, unsettling works, priced between €3,000 ($3,520) and €25,000 ($29,341), are shown alongside work by other young artists from the gallery.

How do I look (III), 2026
Olasunkanmi Akomolehin
KORNFELD Galerie Berlin

Gedankensprung, 2025
Johanna Reich
KORNFELD Galerie Berlin

One of them is Johanna Reich, whose small drawing works are created using a generative process. Using a hand-programmed AI, she turns her personal experience of synesthesia—an association between letters and colors—into delicate symbols.

Elsewhere, several of Olasunkanmi Akomolehin’s oil paintings portray members of his Nigerian family and friends, both alone and together. Set against vivid, floral backgrounds, these characters exude a warm, if posed, conviviality.

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The 5 Best Booths at EXPO Chicago 2026 https://ift.tt/leD7g18

A buoyant energy ran through Navy Pier during EXPO Chicago 2026’s VIP day on April 9. In early conversations, one theme recurred: the fair felt refreshed. That shift was drawing back Midwestern collectors who had not attended in years, as well as an increased international crowd.

The 2026 edition is EXPO’s second under the ownership of fair conglomerate Frieze, and the first led by director Kate Sierzputowski, the fair’s former artistic director. Working with notable Chicago curator Essence Harden, she has introduced a cleaner floor plan and a stronger curatorial vision that reduces the fair to 140 galleries, compared to 170 in 2025.

Leaner, meaner, and more focused, this year’s EXPO feels re-energized. The fair kicked off in lively spirits, with several booths selling out within the first few hours, including Public Gallery and Megan Mulrooney. As the day went on, VIPs continued to flood into the convention center, with the fair hitting its peak as the post-work crowds drifted in after 6 p.m.

Much of this renewal stems from owners Frieze, which operates fairs in London, Seoul, Los Angeles, and New York, and acquired both EXPO Chicago and The Armory Show in 2024. Leveraging Frieze’s international network, Sierzputowski explained how EXPO is reaching global art communities, thereby solidifying connections with Asian and European galleries. Indeed, the fair’s glamorous atmosphere resembled the stylish ambiance of Frieze’s stateside fairs in Los Angeles and New York.

At the same time, one of the organizers’ main goals this year was to bring local collectors back into the fold. Sierzputowski spent the past several months traveling extensively around the region and focused on reconnecting with audiences whose attendance had wavered since the fair's founding in 2012. Judging by the crowds on the fair’s VIP day, that outreach is paying off.

When visitors did arrive, there was plenty to hold their attention, thanks to a lean, curated structure that made the fair far less exhausting to traverse than in previous years. “It was really important for me to make really specific choices with the sections, make them more thematic, make them more exciting to experience, have it be something that curators really want to explore,” said Sierzputowski.

This approach is especially visible in EXPO Projects, a section featuring interactive installations and performances throughout the fair. Among the inaugural collaborations are “Evolution,” a display curated by Louise Bernard, director of the nearby Obama Presidential Center Museum, which is set to open later this year. Other institutions with an increased presence at the fair include Artists in Public Schools, a residency pairing Chicago artists with Chicago Public Schools, and the Saint Louis Art Museum, which organized a group to visit the fair for the first time in around a decade.

Indeed, incorporating local institutions is a natural move in a city like Chicago, where museums, foundations, and academic collections have long played a central role in shaping the city’s cultural identity. “We want to embed them deeper into the fair, and not just have institutions visit or do a program or a discrete installation, but have it feel more like a full collaboration,” said Sierzputowski.

Here, we present the five best booths from EXPO Chicago 2026.

Public Gallery

Booth 324

With works by Taylor Simmons

Solitary figures wander in states of transformation in new paintings by Artsy Vanguard 2025 alum Taylor Simmons at Public Gallery’s booth. The presentation centers on what gallery director Nicole Estilo Kaiser calls “acts of becoming,” with Simmons drawing from biblical narratives and Greek mythology to probe questions of vision and the meaning of looking.

Eurydice, 2026
Taylor Simmons
Public Gallery

Orpheus, 2026
Taylor Simmons
Public Gallery

A Moment, 2026
Taylor Simmons
Public Gallery

A Smaller Gesture, 2026
Taylor Simmons
Public Gallery

For the Hellcat, 2026
Taylor Simmons
Public Gallery

I Prayed About It, 2026
Taylor Simmons
Public Gallery

Dark, Deep, 2026
Taylor Simmons
Public Gallery

In I Prayed About It (2026), for instance, a woman dressed in all white places her hand on a car, while the subtle outline of a body rests in the sky above her. The figure resembles an angel, representing a guardian for the partially rendered figure above her. That sense of partial obscurity is central to Simmons’s evolving practice. Figures are often “cloaked,” as the curator Rayna Holmes, a friend of Simmons, explained.

This compositional strategy shields subjects, who are often drawn from the artist’s community, from the hyper-visibility and commodification of Blackness. “Taylor has a certain diligence with which he paints that protects the figures that he’s rendering,” Kaiser said. The result is a body of intimate works that show a careful restraint in the fast-rising painter’s practice.

Works are priced between $3,000 and $20,000, with the booth selling out to a mix of private and institutional collections on the first day of the fair.

ILY2

Booth 215

With works by Catherine Telford Keogh

Catherine Telford Keogh’s stone sculptures, scattered across the floor and walls of ILY2’s booth, read like fossils for the modern age, embedded with pharmaceutical products, BVLGARI cologne bottles, Versace perfumes, and miniature Windex bottles, among other common pharmacy finds. The Toronto-born, New York–based artist’s practice traces “the life cycles of different materials,” as ILY2 director Rosie Motley explained, moving between “ancient geological materials” and “fast commodities” like product samples and Styrofoam.

Sampler, 2023
Catherine Telford Keogh
ILY2

Endorsement , 2026
Catherine Telford Keogh
ILY2

Volume , 2023
Catherine Telford Keogh
ILY2

Cloud Cover, 2025
Catherine Telford Keogh
ILY2

Volume 4.4, 2024
Catherine Telford Keogh
ILY2

Bearing 1.2, 2026
Catherine Telford Keogh
ILY2

Bearing 1.1, 2026
Catherine Telford Keogh
ILY2

Colorimetric No. 1.1, 2026
Catherine Telford Keogh
ILY2

Low Life (Deadtime) , 2026
Catherine Telford Keogh
ILY2

Colorimetric No. 1.2, 2026
Catherine Telford Keogh
ILY2

Elixir for the Spirits, 2023
Catherine Telford Keogh
ILY2

Expired Zep Professional® Spray Bottle (J34P042FieldAR5), 2024
Catherine Telford Keogh
ILY2

Keogh’s sculptures incorporate marble, green onyx, and Azul Macaubas quartzite, a stone sourced from a Pakistani quarry. On the outer wall, Elixir for the Spirits (2023) features three interlocking stone elements that resemble puzzle pieces. The surfaces are embedded with beauty product samples, using these remnants to examine how “our relationship to a substance changes depending on the context,” according to Motley.

Meanwhile, large glass ampule vials, titled Colorimetric No. 1.1 and Colormetric No. 1.2 (both 2026), typically used for substances such as saline or promethazine that cannot be contaminated by air, sharpen the artist’s interest in containment and in the idea of hyperexposure. Motley explained that these works represent “this tension between a fear of contamination and a desire for sterilization,” and that for both series, Keogh wants us to grapple with how “we can’t ever be separate from our environments.”

Works in the booth start at $5,000 and go up to $18,000.

OSMOS

Booth 124

With works by Herbert Holsey

For OSMOS founder Cay-Sophie Rabinowitz, the New York gallery’s solo presentation of the late Atlanta-based collage artist Herbert Holsey is deeply personal. During their time as friends in Atlanta, Holsey would invite Rabinowitz to watch soap operas together, only if she brought scissors and magazines for him to collage. At EXPO Chicago, Rabinowitz is showing a selection of Holsey’s razor-sharp collages for the first time since his last exhibition in 1995, just weeks before his passing.

Holsey began making collages in the 1980s while serving in the military and living in Germany with what Rabinowitz describes as “his highly ranked military husband.” He later moved to Atlanta, where he performed at one of the city’s 24-hour gay clubs. As a queer man in the Deep South, he brought acerbic political commentary to his collages, particularly during the AIDS crisis in the United States, which ultimately claimed his life.

Some of these untitled works feature biting depictions of Ronald Reagan or images of Uncle Sam’s arm dropping gasoline into Niagara Falls. Others, such as Man from Another Planet (1985)—which features a silhouette floating off the moon—directly address the isolation he felt during his lifetime. Bright, kaleidoscopic surfaces give way to incisive, often unsettling juxtapositions. The works are priced at $1,600 apiece.

Mindy Solomon Gallery

Booth 411

With works by Dee Clements

A series of sculptures featuring sagging, woven forms spilling over ceramic vessels anchors Mindy Solomon Gallery’s booth of works by Dee Clements. The Miami gallery is showcasing the Chicago artist with five works that combine hand-built ceramic forms with hand-dyed basketry to explore the aging body.

My early baskets with flowers and textiles 2, 2026
Dee Clements
Mindy Solomon Gallery

Gams, 2026
Dee Clements
Mindy Solomon Gallery

Fibroid, 2026
Dee Clements
Mindy Solomon Gallery

Bloom, 2026
Dee Clements
Mindy Solomon Gallery

Woven Painting, 2026
Dee Clements
Mindy Solomon Gallery

My early baskets with flowers and textiles 1, 2026
Dee Clements
Mindy Solomon Gallery

Flowers, Vase, Baskets, 2026
Dee Clements
Mindy Solomon Gallery

Crone, 2026
Dee Clements
Mindy Solomon Gallery

Mended, 2026
Dee Clements
Mindy Solomon Gallery

Ramona, 2025
Dee Clements
Mindy Solomon Gallery

At the center of the booth, Fibroid (2026) features a contorted woven reed basket, subtly painted with golden gouache, sprouting from a harsh, bronze ceramic base. This ceramic sculpture is shaped to depict a bundle of flowers and plants sprouting out. According to Mindy Solomon, Clements, who is now 46, uses these works to grapple with aging. “She is very cognizant of her aging self, and the work that she's making is really driven by her connection to the body and the change of the body,” Solomon told Artsy. “How she chose to sculpt is really what was coming from her intuition of the female form. She describes it really well when she talks about the sagging and the movement [of the body].”

These works are paired with a few of the paintings and wall works around the green-painted booth. Flowers, Vase, Baskets (2026), for instance, features a pastel-and-gouache painting of plants sprouting from a vase within a bespoke hand-woven reed-and-pineboard frame. In the left-hand corner, the frame itself is another basket.

These five sculptural works are priced between $10,000 and $16,000. Meanwhile, the woven wall works are priced at $12,000, and the paintings are priced at $6,000.

Artemin Gallery

Booth 425

With works by Juli Baker and Summer

Each painting in Juli Baker and Summer’s standout triptych featured at Artemin Gallery’s booth depicts a young woman absorbed in reading, stemming from the Thai artist’s realization that many children outside Bangkok grow up with fewer than three books at home. Raised in Bangkok, the artist began to reconsider how formative that access had been, particularly how influential the women characters in translated novels and folk tales had been in shaping her imagination.

Throughout the Taipei- and Seoul-based gallery’s booth, the artist’s warm, saturated hues pair with loose, expressive brushwork to balance nostalgia for these stories with the urgency of the theme. These acrylic paintings are marked by a playful, deliberately unrefined quality, as if bursting with spontaneous, impulsive energy. Each of these works is priced at $10,000.

Elsewhere, Baker and Summer’s energetic aesthetic is most unruly in Sita’s Trial by Fire (2026), an 8.5-by-4.6-foot explosive abstract painting that evokes the moment in the Ramayana—or its Thai adaptation, the Ramakien—when the princess is forced to walk through flames to prove her purity. This work is priced at $12,600.

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