5 Standout Artists at MoMA PS1’s “Greater New York” https://ift.tt/0metzb9

What is the state of New York’s art scene today? It’s a question that has reverberated across the city over the last few weeks, as Josh Kline’s essay “New York Real Estate and the Ruin of American Art” for October has inspired conversations about how hard it is to make ambitious, exciting new work here.

MoMA PS1’s quinquennial “Greater New York” showcases what’s still possible, in spite of various nightmarish economic and political circumstances. The sixth edition of the event, which remains on view through August 17th and celebrates the institution’s 50th anniversary, proposes specific throughlines. “Attuned to New York City as a nexus of flows and exchanges—of goods, labor, and capital—many of the artists trace how these factors converge to shape everyday experiences,” the press materials state. The expansive curatorial team chose to highlight both intimate, tactile works and larger spectacles. A performance program runs concurrently with the show.

Below are five standout artists from the show, whose practices speak to this multiplicity of artmaking in New York today. They use materials both radical and traditional, from teeth and dead coral to paint and mass media images that worm their way into the collective consciousness. For all New York’s pleasures and problems, these artists prove that vital energy still courses through the city, ready to be metabolized out into memorable new work.

Chang Yuchen

B. 1989, Shanxi Province, China.

For seven years, Chang Yuchen has collected coral fragments and transformed their shapes into a vast semiotic system. The resulting project—Coral Dictionary (2019–present)—exemplifies the single-minded obsession that’s typical of her art practice.

Across delicate graphite drawings, charts, and accordion booklets shown both on walls and in vitrines, the artist elaborates on her expansive lexicon and “translates” each form into English, Mandarin, and Malay. The project bridges gaps between languages, between word and image, and between organic forms and the gallery space.

Chang’s work makes use of the Kamus Sari, “a trilingual dictionary whose example sentences still reflect the political dimensions of life in 1970s Malaysia” according to the press materials. She pairs its sentences, such as “That ship disappeared from sight,” “That body isn’t alive,” and “Take good care till total recovery, in order to prevent relapse,” with coral forms that become signs for each individual word and punctuation mark. The dried corals serve as ghosts of marine life past, no longer living, but speaking through the artist.

Alongside her art practice, Chang teaches in the Dance MFA program at Bennington College. During a 2024 artist fellowship with the New York Public Library, she compiled “Body Dictionary,” an experimental curriculum which, according to the library, linked the “somatic and semantic.”

Akira Ikezoe

B. 1979, Kochi, Japan.

Akira Ikezoe’s paintings are impressive catalogues of visual information. Chart of Darkness (2025), for example, has more in common with an Excel spreadsheet than with a gestural abstract work. The painting features a broad table of icons against a bright yellow background. Each row features objects of similar shapes: A row of pairs, for example, presents the twins from The Shining, butterfly wings, ears, and mittens. Each column presents a category, like food: in one you’ll find an ice cream cone, pizza slice, and churro (a pair of plated sushi rolls is at the intersection of both). Warmth and humor infuse the composition, which evokes the aesthetics of emojis.

In a second painting, Frog Stories Around Windmill (2025), Ikezoe diagrams a network of frogs that live and labor across a flat visual field, like a group of Sims across different frames. Ikezoe’s dual contributions to the exhibition suggest a keen interest in digital aesthetics and the power of visual symbology to communicate across language barriers.

Ikezoe’s work is also included in the 2026 Whitney Biennial and was featured in the 2025 Sharjah Biennial.

Nickola Pottinger

B. 1986, Kingston, Jamaica.

Nickola Pottinger creates totems from a blend of family relics—quite literally. She grinds printed matter, including old book reports and shredded documents, with her mother’s handheld cake mixer, then sculpts the pulp into human and animal forms. The artist embeds these figures with pigment, toys, family heirlooms, and bone. She began collecting teeth as a teenager on visits to her mother’s dental lab, and anonymous ivories feature in the artist’s sculpture Genkle Jesus meek and mild II (2026). The work also counts frankincense, mushroom spores, hair, heliconia, and doily cloth among its materials. The pulpy piece stands on two fungus-like feet, with mushroom horns extending from its head and a feathery brown tail extending behind. The creature has a mouth full of real teeth and two large hands, one extended to the viewer. It looks born from a cauldron, an apt metaphor, perhaps, for an artist’s studio.

The catalogue states that Pottinger’s interests include nurturing and devotion, themes that have emerged since she became a mother and began to contend with the recent wreckage of Hurricane Melissa on the coast of Jamaica, her home country. These sculptures of mythic new beings offer hope and tenderness in the face of all we can’t control.

Julia Wachtel

B. 1956, New York, NY

Julia Wachtel presents what’s perhaps the funniest work in “Greater New York”: the five-panel painting McSwift (2024). A photograph of Taylor Swift on her Eras tour appears to stutter across the first two panels. We see the pop star from behind, her shimmering, fringed dress rippling, her booted feet firmly planted, one hand pointing to the sky in a choreographed gesture while the other, ostensibly, holds the mic. The next panel features a waving Ronald McDonald, and the next two return to Swift’s stage, this half with no pop star to animate it. Ronald becomes a commercial break, a literal clown interrupting a mass entertainment. The quiet of the empty stage, and the darkness in front of it, seem like a reprieve, until you remember that there’s a vast audience out there, hungry and worshipful. The work raises some philosophical questions: Is a painting a stage? Is the painter more similar to a clown or a pop star? And is it her job to entertain? Regardless, she does.

Wachtel rose to prominence as a member of the Pictures Generation, a loose consortium of artists whose great subject was the proliferation of images across pop culture and media and advertising in particular. In 2026, when AI can create infinite images and mash-ups via a simple prompt, this work feels as relevant as ever.

Farah Al Qasimi

B. 1991, Abu Dhabi.

Farah Al Qasimi’s photographs span two walls on the second floor of “Greater New York.” One features wallpaper patterned with a photographed red curtain, a theatrical backdrop to the artist’s bright compositions. Another captures a stone countertop with a wooden cutting board, a sliced watermelon on top of it. The fleshy pink face of the halved fruit gapes at the viewer, while a bright yellow jug of corn oil and a pot of flowers hover in the background.

The scene suggests an everyday riff on art historical still lifes, with an oven range off to the side. Al Qasimi’s vibrant palette extends to other works, which feature a parrot perched on an outstretched hand and a girl lying on her bed in jeans and a headscarf, next to her cat. Elsewhere, the artist captures the interiors of cars, replete with Gatorade bottles, a devotional car ornament, or a flower on the dash. All these images, in fact, come from Al Qasimi’s larger project of documenting the Arab community from Dearborn, Michigan (where the population is half Arab), and the United Arab Emirates, where she grew up. Together, they create a sense of exuberant multiplicity. If patterns occasionally clash, the scenes are only richer for it.

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National Gallery receives $116 million donation to send its collection around the U.S. https://ift.tt/F0mRhDY

The National Gallery of Art has received a staggering endowment of $116 million to permanently fund its nationwide loan program, “Across the Nation.” The gift is courtesy of the Mitchell P. Rales Family Foundation on behalf of Mitchell Rales, a collector and the National Gallery’s former president and a board member for 20 years. The transformational donation is the largest gift to endow programming in the institution’s history, and was made to mark the 250th anniversary of America this year. The gift comes at a pivotal moment in time as regional museums across the nation struggle with slashes in funding and declining attendance.

“Across the Nation” was launched in the spring of 2025 as a way to facilitate broader access across the country to key pieces from the National Gallery’s collection of 160,000 works of art. The program invites small and mid-size partner museums to select works from its collection, which the National Gallery then supports by way of fully underwritten transport, installation, insurance, training, and regional marketing initiatives. “We have an incredible asset base in the form of 160,000 works of art, most of which end up in storage for long periods of time, because you just can’t show it all,” said Rales in an interview with the New York Times. “And so I started to say, ‘What do we need to do to put the word ‘national’ into the National Gallery of Art?’”

Kaywin Feldman, the National Gallery of Art’s director added: “Through his remarkable partnership and thanks to this landmark gift, the National Gallery is able to establish ‘Across the Nation’ as a core pillar of our work and fulfill a central part of our vision—of the nation and for all the people. We will not only be able to introduce beloved works of art from our collection to new audiences for generations to come, but will also establish a dynamic model for collection-sharing and build a collaborative network with our museum colleagues nationwide.”

The pilot program, also supported by Rales, launched with 10 partner museums and reached nearly 900,000 visitors; the next cycle will launch in the fall of 2027 and run through 2029. The inaugural cycle placed paintings by Georgia O’Keeffe and Mark Rothko at the Anchorage Museum in Alaska; a selection of Impressionist works by Henri Matisse, Pierre-Auguste Renoir, and Paul Cézanne at the Whatcom Museum in Bellingham, Washington; and works by Sandro Botticelli, Hans Memling, and Andy Warhol at the Flint Institute of Arts in Michigan.

With the program now funded into perpetuity, the National Gallery intends to loan works to museums in all 50 states over the next decade to ensure that millions of Americans who might not otherwise make it to Washington, D.C. will be able to experience the collection.

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Why This Swedish Gallery Set Up Shop in a 19th-Century Chapel https://ift.tt/x5vTXij

Loyal founders Martin Lilja and Amy Giunta are choosing to slow down. In Lund, a quiet university town in southern Sweden, the gallery now occupies a 19th-century chapel. Exhibitions will unfold in the historic brick building, through the massive green church doors, and under softened light filtering through stained-glass windows.

“The scale, the light, and the verticality all invite a different kind of exhibition-making,” Giunta told Artsy of the space, designed by Swedish architect Helgo Zettervall. “It allows for things to slow down a bit, and the work can hold space rather than compete for it.… For the artists, it creates an opportunity to think beyond standard gallery formats.”

Giunta described the Swedish art scene as “strong” but happening within a small, occasionally insular community. For the gallerists, who had been based in Stockholm for two decades, the chapel “offers a shift in pace and perspective.” “It’s a space where the work can expand and settle differently, and where exhibitions can unfold more slowly,” she said.

The move follows two decades in Stockholm, where Loyal built a reputation as a reliable engine for discovering new talent. The two gallerists share a propensity for experimentation, evident in their latest move and their consistently exciting programming. Some of the early solo shows mounted at their previous Stockholm space featured now-widely known artists Eddie Martinez, Katherine Bernhardt, and Wes Lang.

How Loyal’s publishing roots laid its tastemaking foundations

Loyal started as a magazine, launched by Lilja in 2000. Giunta, who was living in New York, met Lilja during a trip to Stockholm the next year. “We quickly found that we shared a similar sensibility and way of working: similar enough to see eye to eye, and different enough to keep it exciting and surprising,” she told Artsy. In 2001, Lilja joined the magazine, which had a dedicated following for its edgy arts and culture–focused reporting. Publishing offered Lilja and Giunta a way into culture that felt self-determined and accessible. “It was a way of paying attention and forming a point of view,” Lilja said.

By 2005, opening a gallery felt like the right next move, and it opened a space in Stockholm’s Vasastan neighborhood. “At a certain point, we realized that what we were really doing was building relationships with artists and curating what were essentially exhibitions in print,” Giunta said. “The magazine was one way of doing that, but the gallery became a more direct way to continue that conversation. It wasn’t a strategic shift so much as a natural progression.”

That editorial instinct remained a key part of the gallery’s programming. “Instead of pages, it became exhibitions. Instead of documenting, we were now responsible for context, for how the work meets the audience,” Lilja said. But even as it evolved, the gallery has remained intentionally lean and is operated almost exclusively by the two founders. The approach, they say, “allowed us to stay very close to both artists and collectors, and to build something that feels consistent over time rather than programmatic.”

Staying Loyal to its artists

La Tierra de la Culebra, 2025
Michelle Blade
Loyal

Magic Hour Eze, 2025
Daniel Heidkamp
Loyal

Some artists that the gallerists have worked with began in the magazine days, including Brian Belott, a New York–based performer and artist. They’ve continued to add artists to the roster, including now-stalwart artists like Michelle Blade and Daniel Heidkamp.

“Loyal has always been about building long-term relationships with artists and staying close to the work as it develops over time,” Lilja said. “The mission is to create the right conditions for artists to take risks, evolve, and be seen in a focused way.”

Conduct, 2025
Zoé Blue M.
Loyal

Old Tree, 2026
Ross Caliendo
Loyal

This mission now extends across continents. While the gallery is grounded in Sweden, its program is also shaped by the gallerists’ ties to London, New York, and especially Los Angeles, where Lilja and Giunta live for a quarter of the year. In 2002, artist and curator Rich Jacobs connected the gallerists with a group of artists and became a part of their lives.

“We would go for three months every winter to escape Sweden’s darkest days and be around the sun and the dynamic art scene,” said Giunta. “In Los Angeles, we met Mario Ayala, and things kept building from there as connections continued to grow, with artists like Chanel Khoury, Alex Gardner, Zoé Blue M, and Ross Caliendo,” she said.

A gallery program split between L.A. and Lund

Now, the gallery hosts an annual pop-up at the El Royale apartment buildings during L.A. Art Week in February. “It also allows us to bring together artists in a way that feels specific to that context, rather than replicating what we do in Sweden,” Lilja said. The first exhibition took place in 2023; it featured 13 artists, including Michelle Blade and Andrea Marie Breiling, and was situated within the iconic William Douglas Lee–designed parlor. This year, they held the first of a two-parter, “Infinite Planes High,” a show featuring artists whose work conceptually engages with expansiveness. Part two, which consecrated the Lund space, opened in mid-March.

“Moving between Sweden and L.A. creates a dialogue between contexts that are quite different in energy and scale,” said Giunta. That tension is good. It keeps things from becoming too fixed and allows artists to be seen in multiple frameworks. So ‘local’ becomes something you build through repetition and trust, not just where you’re based.”

This rethinking comes as the gallery looks to centralize its efforts. After years in Stockholm, jumping across several spaces across the city, most recently a townhouse on Odengatan (coincidentally designed by Zettervall’s son, Folke), the gallerists felt it was time to change things up.

Lund felt like a better use of resources, time, and energy, “where we have full control over context and presentation,” Giunta said, pointing to the legendary Lund gallerist Anders Tornberg, who, between 1970 and 1990, featured notable New York artists including Robert Rauschenberg, Sol LeWitt, and Richard Serra.

The chapel in Lund brings the gallery’s ethos into sharper focus. As with the exhibition at El Royale, the work is set in direct dialogue with the building. This setting illuminates the bright, explosive colors that characterize most of this group show, such as Jean Nagai’s Goat Mountain (2025), a textured pumice-on-canvas work that evokes a burning flame, or Alice Faloretti’s psychedelic landscape, Mirage #2 (2025). Compared to its first iteration in L.A., this show feels less compressed, bending to the chapel’s rhythm while still linking the gallery’s program across continents.

While the formats shift, the approach remains the same: to bring work into contact with an audience in a way that is carefully “edited,” where, as Giunta says, “relationships can develop in a way that felt more our own.”

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7 Iconic Works From Alexander Calder’s Major Paris Retrospective https://ift.tt/hyzcTUt

2026 marks a double anniversary for Alexander Calder, whose lyrical, perfectly balanced kinetic sculptures left an indelible mark on twentieth-century art. Fifty years since his death and a hundred since he first arrived in France, the Fondation Louis Vuitton is celebrating with a major retrospective. “Calder. Rêver en Équilibre” (“Calder. Dreaming in Balance”) brings together nearly 300 works. They include the mobiles and stabiles (or moving and static sculptures) that brought him international fame, along with large-scale public works, paintings, woodcarvings, works on paper, and even jewelry.

Born in Philadelphia in 1898 to a family of artists, Calder earned a degree in mechanical engineering before attending the legendary Art Students League of New York, where his tutors included Ashcan School stalwarts John Sloan and George Luks. He briefly pursued a career as an illustrator and painted scenes of urban life, but his departure for Paris in July 1926 marked a new beginning.

Calder arrived at the height of the Roaring Twenties, when the city was the artistic capital of the world. He quickly established himself as a central figure in the Montparnasse avant-garde alongside close friends such as Joan Miró, Jean Hélion, and Piet Mondrian. Calder began making innovative sculptures, which often incorporated unconventional or found materials like wire, string, broken glass, buttons, and fragments of wood, and he emerged as one of modernism’s most distinctive figures. As Suzanne Pagé, the exhibition’s head curator, told Artsy, “What was very important for him [in Paris] was that other major avant-garde figures immediately recognized this extraordinary artist who used very unusual, very humble materials, and who showed that sculpture, which was traditionally about mass, about volume, could become a kind of drawing in space.”

The Nazis’ rise to power forced Calder to return to the U.S. in 1933, yet he remained an ardent francophile. He returned to Paris for a 1946 exhibition at the Galerie Louis Carré, for which Jean-Paul Sartre wrote the famous essay “Les mobiles de Calder.” Calder subsequently established a studio in Saché in the Loire Valley, France, sharing his time between Roxbury, Connecticut, and his adopted home. Throughout his career, he continued to give many of his works French titles, regardless of where they were created or displayed.

Calder never stopped rethinking the possibilities of sculpture. He explored scale and negative space, embracing both delicate assemblages and monumental constructions that dwarfed spectators. What united these works was a complex dialogue with nature. While many of Calder’s sculptures evoke organic forms, they remain patently artificial and resistant to any attempt at interpretation. They leave us, above all, with a sense of wonder. Alexander Rower, president of the Calder Foundation and the artist’s grandson, explained to Artsy: “He’s not trying to tell you what to think or feel. He’s just inviting you to feel something. It’s up to you. He’s really trying to enliven us.”

As Calder’s work makes a welcome return to Paris, Artsy highlights seven key works from the exhibition, which is on view through August 12, 2026.

Le Cirque Calder (1926-31)

Calder was fascinated by the energy of the circus from an early age, and he frequently painted it while still in New York. Shortly after arriving in Paris, he began creating his own miniature version, cobbled together from everyday materials and studio debris, including wire, wood, paper, cardboard, cloth, leather, string, buttons, rubber tubing, cork, pipe cleaners, and bottle tops. By 1931, it had grown to fill five suitcases, boasting a cast of 69 characters and animals, 8 mechanical systems, and some 90 props.

The artist gave carefully choreographed performances, animating the figures while his wife Louisa provided music and sound effects. The events offered a unique blend of sculpture, theater, and performance art that dazzled audiences including Fernand Léger, Theo Van Doesburg, Le Corbusier, and Marcel Duchamp, who had never witnessed anything like it. “There was no precedent for this,” Rower explained. “There was no such thing as performance art when he made this thing.”

As an exploration of scale, mechanical innovation, and movement, Le Cirque Calder prefigures much of the artist’s later work. But it was also a thoroughly enchanting spectacle. Pagé said that during these performances, “he was like a child. And I think that every one of us looking at the circus rediscovers our childhood gaze."

Josephine Baker IV (c.1928)

Calder built a reputation in Paris with his groundbreaking sculptures made from taut, hand-shaped wire. They dramatically broke with sculptural conventions as they omitted mass almost completely; instead, they offered a form of three-dimensional drawing as they projected lines into space.

Critics dubbed Calder the “King of Wire” for these pieces, which showcased his astonishing manual dexterity and acute powers of observation. His subjects ranged from acrobats and athletes to remarkably realistic portraits of contemporary figures like Fernand Léger, Kiki de Montparnasse, and legendary dancer, singer, and actress Josephine Baker (pictured here).

Object with Red Discs (1931)

Calder visited Mondrian’s studio in 1930 and was deeply struck by its simple and precise arrangement of paintings and furniture. He was immediately inspired to embrace abstraction, first in painting and then in a series of experimental kinetic sculptures. The artist drew on his background in mechanical engineering to devise elaborate systems of movement to animate these works, either by motors and gears, or by counterbalances and wind.

While the use of wire provides a connection to Calder’s earlier work, he completely eliminated the figure, leaving nothing but an arrangement of lines and colors hovering in space. In Object with Red Discs, a pyramidal base supports a steel rod and a series of thin wire branches with small red spheres at their tips. They move and float in response to the slightest air current. As Pagé noted, “What is extraordinary is that when he becomes abstract, the sculptures are once again, but very differently, alive. Of course, they don’t actually live. But they live.”

When Duchamp first saw these works in late 1931, he famously dubbed them “mobiles”—a term now synonymous with Calder’s name.

Constellation (1943)

During World War II, the aluminum sheet metal that Calder used in his mobiles became increasingly hard to find, forcing him to improvise with new materials. What eventually emerged were the Constellations, small arrangements of biomorphic wood—some painted, some with the grain exposed—linked together by thin metal rods. Although entirely abstract in conception, they nevertheless suggest a fascination with the cosmos and the poetry of space; some were even designed to be hung high on a wall, inviting viewers to gaze upwards, as if to the heavens.

These works have often been compared to the Constellations of Joan Miró, a series of paintings created between 1939 and 1941 which depict similar arrangements of abstract forms connected by thin, wire-like lines. However, although they were lifelong friends, neither was aware of what the other was working on at the time, as Miró was unable to leave Europe during the war.

Black Widow (1948)

Black Widow is a quintessential Calder mobile, and it’s the first work to greet visitors at the exhibition. The sculpture, which measures 11.5 by 6.5 feet, is a remarkable marriage of art and engineering; its enormous size contrasts with the flowing delicacy of its 19 leaf-like metal panels, some pocked with holes, which seem to hover effortlessly in the air. “I love this idea of opening the show with what you think you know about Calder: a mobile,” said Rower. “And it also happens to be one of the most incredible structures he made in his whole life.”

Since 1948, Black Widow has hung in the São Paulo offices of the Instituto dos Arquitetos do Brasil (IAB) and rarely leaves Brazil. This is its Paris debut.

La Grande vitesse (1:5 intermediate maquette) (1969)

As a trained engineer, Calder always believed his work could exist on any scale. In the mid-1930s, he began to test this theory with large-scale outdoor sculptures. Towards the end of his career, he became a master of monumental form, widely celebrated for both his private and public commissions. La Grande vitesse is a prime example.

Calder designed the piece to occupy the plaza in front of the City Hall and County Administration Building in Grand Rapids, Michigan. The finished work is nearly 50 feet in length, its flowing, organic forms and vibrant red hue evoking a palpable sense of motion, even though it’s stubbornly rooted to the ground. In this sense, the French title (which translates to “High [or Great] Speed”) is both entirely apt and somewhat ironic, while also alluding to the name of Grand Rapids itself.

This 1:5 scale maquette was one of three that Calder used in the process of enlarging the original design to full-size. Technicians completed the finished work under Calder’s close supervision, but he considered these intermediate models to be sculptures in their own right. This particular example was the first civic sculpture in the U.S. to receive funding from the National Endowment for the Arts.

Critter innommable (1974)

Even for Calder, who never stopped experimenting with new ideas and forms, the Critters still stand out. He created these large-scale, free-standing creatures two years before his death, harnessing sheet metal and making a surprising return to figuration after decades of explorations into the abstract.

Their phantasmagorical appearance suggests beings in a state of flux or metamorphosis. Disjointed limbs and other appendages sprout from their torsos at bizarre angles. They feature empty mouths and eyes and walk a fine line between menace and joy.

These pieces unite the looseness and spontaneity of paper cutouts with the weight and solidity of industrial metal. Like all of Calder’s work, they exist in a liminal state between nature and artificiality. As Pagé explained, at this point in his career, “he was completely free. And he was always trying to do something different.”

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Diane Keaton artworks and personal collection will go to auction. https://ift.tt/WIkvYln

Art, fashion, books, and personal objects from the collection of the late actor, filmmaker, and style icon Diane Keaton will head to auction this June. Bonhams, in partnership with the advisory firm The Fine Art Group, will present “Diane Keaton: The Architecture of an Icon” across four sales in New York and Los Angeles. Keaton died on October 11, 2025.

The group of auctions reflects the breadth of Keaton’s creative life and collecting sensibility, bringing together American modern and contemporary art, interiors, entertainment memorabilia, and selections from her famously distinctive wardrobe. According to Bonhams, the project will comprise more than 400 lots, anchored by a live auction in New York on June 8th and accompanied by three online sales.

The 50-lot live auction in New York will include recognizable pieces from Keaton’s wardrobe, such as a Ralph Lauren polka-dot tie estimated at $100–$200, a classic black bowler hat estimated at $400–$600, a Gucci sequin suit and beret worn to the LACMA Gala, estimated at $2,000–$3,000, and a Ralph Lauren houndstooth two-piece suit and overcoat ensemble worn to the 2020 Academy Awards and later featured on the cover of Fashion First, also estimated at $2,000–$3,000. Another notable lot is the original untitled script for Annie Hall, estimated at $2,000–$3,000.

Art highlights in the sale include Maynard Dixon’s Train on the Desert Arizona (1941), estimated at $20,000–$40,000; David Wojnarowicz’s Buffalos, estimated at $25,000–$35,000; and Ed Mell’s Light in the Valley (1992), estimated at $10,000–$15,000.

Keaton, who passed away late last year, was celebrated not only for performances in films such as Annie Hall (1977), Reds (1981), The Godfather trilogy, and Something’s Gotta Give (2003), but also for a visual language that extended across fashion, publishing, and interior design. Her books, including California Romantica (2007), The House that Pinterest Built (2017), and Fashion First (2024), helped define her public image as an interior design tastemaker. She was also an astute collector with an eye for American art, photography, and interiors.

“Diane Keaton was not simply a collector, but a consummate editor,” Anna Hicks, Bonhams’s head of private and iconic collections, U.S., said in a statement. “Each piece—whether art, fashion, decor, or personal object—was chosen by her with remarkable precision and clarity, reflecting an innate instinct for composition, restraint, and meaning.”

The online sales further expand the offering. The Diane Keaton Collection: Tailored & Timeless, running from May 31 to June 9 in New York, will include more than 200 pieces of clothing, jewelry, hats, and accessories by designers associated with Keaton’s look, including Ralph Lauren, Thom Browne, and Comme des Garçons. Highlights include a Ralph Lauren Purple Label evening tailcoat and pants worn to the Ralph Lauren Spring 2023 runway show, a polka-dot skirt and belt worn both onscreen in And So It Goes and at ICP’s Infinity Awards, and a Paul Harnden striped linen coat worn in a 2019 InStyle feature.

Another online auction, The Diane Keaton Collection: At Home with Diane, will run from June 1 to June 10 in Los Angeles and feature more than 150 pieces of furniture, interiors, and decorative objects from Keaton’s residences. Offerings will include Monterey and industrial furniture from her living room and office, such as stained-wood settees and planters that reflect the understated, architectural sensibility she brought to her domestic spaces.

In a statement accompanying the sale, Keaton’s sister Dorrie Hall said that the collection reflects “not only a lifetime of looking, but a lifetime of truly seeing.”

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The 2026 Venice Biennale, Explained https://ift.tt/rBY3HO4

Founded in 1895, the Venice Biennale is the oldest and most prestigious biennial of contemporary visual art. As its name suggests, it takes place every two years. The 2026 Venice Biennale, the event’s 61st edition, runs from May 9th to November 22nd, with preview days from May 6th to 8th.

At its core, the Biennale is structured around two principal components: a central, curated exhibition—titled for this edition “In Minor Keys”—and a series of national pavilions. The main exhibition (officially the “The 61st International Art Exhibition”) is organized by an appointed curator and unfolds across two primary venues: the Giardini and the Arsenale. It brings together artists from around the world under a unified curatorial framework.

The national pavilions operate alongside this exhibition but are independently organized by participating countries. Each nation selects its own artists and curatorial approach. There are 29 permanent national pavilions in the Giardini (more than half are from Europe), while other national pavilions are located within the vast former shipyards of the Arsenale and other venues throughout the city.

The Main Exhibition

Who is curating it?

The 2026 Venice Biennale is curated by the late Cameroonian Swiss curator Koyo Kouoh, director of Zeitz Museum of Contemporary Art Africa, who was appointed to the role in late 2024 as the first African woman to lead the exhibition. Born in Cameroon in 1967 and raised in Zurich, Kouoh built an influential international career, from founding the Raw Material Company in Dakar to contributing to documenta 12 and 13 and shaping the programme of the 1-54 Contemporary African Art Fair. She died unexpectedly in May 2025, but her exhibition will proceed as planned, realized by the curatorial team she brought together.

That team—Gabe Beckhurst Feijoo, Marie Hélène Pereira, Rasha Salti, Siddhartha Mitter, and Rory Tsapayi—now carries forward her vision. She conceived the 2026 exhibition as one that would “carry meaning for the world we currently live in—most importantly, for the world we want to make.”

What’s the 2026 theme?

Titled “In Minor Keys,” the exhibition promises to explore art that shifts away from speed and spectacle towards a slower, more attentive mode of engagement. With a title borrowed from music, the exhibition foregrounds emotional, sensory, and subjective responses, positioning art as a space for reflection, restoration, and connection.

The show is structured around a set of loose, overlapping motifs—Shrines, Procession, Schools, Rest, and Performances. Bringing together emerging and established artists from cities including Dakar, Beirut, Paris, and Nashville, “In Minor Keys” reflects Kouoh’s long-standing interest in connections that emerge across distance and difference. Kouoh was interested in how artists working far apart might be asking similar questions or arriving at related forms, despite vastly different contexts. In this way, the Biennale extends what she described as a “relational geography”: a network of encounters built over time, where meaning develops through these connections.

Who are the artists participating?

The exhibition brings together 111 participants, spanning individual artists, duos, collectives, and artist-led organizations. This edition marks a noticeable increase in living artists compared to 2022 and 2024, with the oldest living participant, Mmakgabo Mmapula Helen Sebidi (born in 1943), and the youngest, Mohammed Z. Rahman (born in 1997).

At the center of the exhibition is Shrines, dedicated to the Senegalese artist, poet, and playwright Issa Samb (1945–2017) and the American artist Beverly Buchanan (1940–2015), both key figures in Kouoh’s thinking. Within the Procession motif—shaped by Afro-Atlantic traditions of movement and gathering—artists including Alvaro Barrington, Nick Cave, Pio Abad, Ebony G. Patterson, and Big Chief Demond Melancon engage with collective histories through performance and assemblage. The Rest motif creates space for reflection and repair, with works by artists such as Helen Sebidi, Seyni Awa Camara, and Wangechi Mutu foregrounding material, spiritual, and environmental connections. As part of Kouoh’s Schools motif, artist-led organizations such as Raw Material Company in Dakar, GAS Foundation in Lagos, and the Nairobi Contemporary Art Institution are included, foregrounding spaces of collective learning and exchange.

Large-scale installations by Kader Attia, Laurie Anderson, and Khaled Sabsabi punctuate the exhibition, offering moments of contemplation while reinforcing Kouoh’s vision of art as a shared and sustaining force. Under the Performances motif, this focus on movement and collective experience extends into a program of live events, including a poetic procession in the Giardini inspired by Kouoh’s 1999 Poetry Caravan—a journey she undertook with nine African poets from Dakar to Timbuktu—restaged here as a tribute to her legacy.

Golden Lion Award: What’s Changed This Year?

The Golden Lion for Lifetime Achievement—one of the Venice Biennale’s highest honors, awarded for an artist’s enduring contribution to contemporary art—will not be presented in 2026, as Koyo Kouoh was unable to finalize her selections before she died. So far, the Biennale has not released information about the 2026 Golden Lions for National Participation and in the Main Exhibition.

At the 2024 edition, the Golden Lion for Best National Participation was awarded to Indigenous Australian artist Archie Moore for his Australia Pavilion exhibition “kith and kin,” marking the first time an artist from the nation received the prize. The Golden Lion for participation in the main exhibition went to New Zealand–based Māori collective Mataaho Collective.

The Pavilions

A total of 99 nations will take part in the 2026 Venice Biennale, up from 86 in 2024. Across the lineup, around 45 pavilions are from Europe, 13 from Africa, a substantial grouping across Asia and the Middle East, with smaller but growing representation from South America and Oceania—including first-time participant Nauru, a Pacific island nation northeast of Australia.

A strong cohort of women artists will represent national pavilions. In the U.K., Lubaina Himid—winner of the 2017 Turner Prize—becomes only the second Black woman to represent Great Britain at the Biennale. France will be represented by Yto Barrada, whose work has previously appeared in the Biennale’s main exhibition, marking her first national pavilion. Elsewhere, women artists lead a significant number of presentations: Austria’s Florentina Holzinger (who recently joined Thaddaeus Ropac); Estonia’s Merike Estna; Finland’s Jenna Sutela; Germany’s Henrike Naumann and Sung Tieu; Ireland’s Isabel Nolan; Iceland’s Ásta Fanney Sigurðardóttir; Cyprus’s Marina Xenofontos; and Denmark’s Maja Malou Lyse, the country’s youngest-ever representative.

Performance also emerges as a defining thread across this year’s pavilions. Austria will be represented by Florentina Holzinger; Belgium by Miet Warlop; Japan by Ei Arakawa-Nash; and South Korea by Goen Choi and Hyeree Ro, while the Netherlands, represented by Dries Verhoeven, will foreground performance for the first time.

Which countries are participating for the first time?

The 2026 Venice Biennale sees a notable expansion in participation from African countries, with 12 nations presenting national pavilions. Several are taking part for the first time, including Guinea, Equatorial Guinea, Morocco, Sierra Leone, and Somalia, joining returning participants such as Cameroon, the Democratic Republic of the Congo, Ethiopia, Senegal, Uganda, and Zimbabwe.

First-time national pavilions also include El Salvador, represented by painter and sculptor J. Oscar Molina; Moldova with Pavel Brăila; and Nauru—the world’s smallest island nation—with a group exhibition curated by Khaled Ramadan. Vietnam will also participate for the first time with a group exhibition at Ca’ Faccanon in San Marco, curated by Do Tuong Linh.

A major development comes from Qatar, which has established its first permanent national pavilion in the Giardini—the first addition to the historic site in three decades, following South Korea’s pavilion in 1995. Designed by Lina Ghotmeh, the project reflects deepening cultural ties between Qatar and Italy.

Which pavilions are causing controversy?

Several national pavilions have become flashpoints ahead of the 2026 Biennale, underscoring how closely the exhibition is entangled with current political tensions.

The South African pavilion will stand empty for the first time in 15 years after culture minister Gayton McKenzie cancelled the country’s participation in January 2026. He argued that Gabrielle Goliath’s proposed work—Elegy (2019–present), a performance centred on a tribute to Palestinian poet Hiba Abu Nada, killed in an Israeli airstrike in October 2023—was “highly divisive.” Goliath’s project will proceed independently, presented at the Chiesa di Sant’Antonin church in Venice.

Australia’s pavilion has drawn attention following a high-profile reversal involving Lebanese Australian artist Khaled Sabsabi and curator Michael Dagostino. Their appointment was withdrawn by Creative Australia in February 2025 amid controversy surrounding Sabsabi’s 2007 film You, which features footage of a speech by Hezbollah leader Hassan Nasrallah and was criticized in the Australian Senate as endorsing extremism. The decision prompted widespread backlash from artists and cultural figures, with Sabsabi and Dagostino arguing that “art should not be censored, as artists reflect the times they live in.” Their reinstatement later that year followed sustained pressure from the arts community and a formal review by the commissioning body.

After being absent from the 2022 and 2024 editions following the invasion of Ukraine, Russia is set to return to the 2026 Biennale—a move that has drawn criticism from European lawmakers, Ukrainian officials, and the wider cultural sector. Members of the European Parliament have called for its participation to be blocked, citing continued attacks on Ukrainian cities and cultural heritage, while Ukraine’s foreign and culture ministers have warned against the Biennale becoming a platform for “whitewashing” the war. On 10 March 2026, the European Commission issued a statement warning that E.U. funding for the Biennale could be reconsidered should Russia participate, alongside calls for the resignation of Tamara Gregoretti, the Italian Ministry of Culture’s representative to the Biennale. Speaking later at the Biennale’s Central Pavilion on March 19th, Venice’s mayor Luigi Brugnaro said the Russian pavilion would be shut down if it were used for propaganda.

Nearly 200 participants in this year’s Biennale have signed an open letter calling for the exclusion of Israel, as well as the U.S. and Russia, citing ongoing violence in Gaza and the West Bank. Organized by the Art Not Genocide Alliance (ANGA), the letter has been endorsed by artists including Sophia Al-Maria, Yto Barrada, Meriem Bennani, Alfredo Jaar, Tai Shani, and Cauleen Smith. The calls echo tensions from the 2024 edition, when Israel’s pavilion—represented by artist Ruth Patir—remained closed during the preview days. Israel will nonetheless participate in 2026, in an exhibition in the Arsenale (the Israeli pavilion is closed for renovations). There, Romanian-born, Haifa, Israel-based sculptor Belu-Simion Fainaru will present Rose of Nothingness (2015).

The U.S. pavilion has also separately drawn scrutiny with its selection of sculptor Alma Allen following a protracted and contested process. Known for his smooth, abstract stone and bronze sculptures, Allen has been seen by some as an unexpected choice for a context such as the Biennale, and the selection process was also unusual. Amid cuts to arts funding, the selection was overseen by the State Department rather than the National Endowment for the Arts, with revised guidelines prioritizing the promotion of “American values and policies” and replacing earlier criteria focused on equity and underserved communities. In an interview with the New York Times, Allen noted that his galleries, Mendes Wood DM and Olney Gleason, had advised him to decline the invitation and ended their relationship with him after he accepted. The appointment followed months of uncertainty, during which artist Robert Lazzarini was reportedly dropped after negotiations over funding collapsed.

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Cult grocery store Erewhon opens café at new LACMA galleries. https://ift.tt/FwEr2jP

To mark the opening season of the new David Geffen galleries at the Los Angeles County Museum of Art (LACMA), a new café by the beloved organic grocer Erewhon will open on the museum’s W.M. Keck plaza. Located in the plaza’s northeast pavilion with a view of Alexander Calder’s 1964 kinetic fountain sculpture, Three Quintains (Hello Girls), the Erewhon café opened on April 19th for member previews and will be open to the greater public beginning May 4. It will run through the summer.

The family-owned Southern California grocery chain is celebrated for their organic, ethically-sourced groceries and prepared foods. It has been around since 1968, but in recent years has become a runaway success as people flock to the markets for sea moss gel and strawberry smoothies with pearl powder. The LACMA location, Erewhon’s first museum café, will offer organic coffee and matcha, pastries, smoothies, cold-press juices, and other takeaway snacks like their signature buffalo cauliflower or ranch kale chips.

“We’re so proud to partner with LACMA, a meaningful milestone as our first museum collaboration,” said Erewhon’s CEO Tony Antoci and its president and owner, Josephine Antoci, in a press statement. “It really feels like a celebration of Los Angeles, bringing Erewhon and LACMA together to nourish and inspire the community we love.” Michael Govan, LACMA’s CEO and director added that “Erewhon is a Los Angeles icon that values creativity and wellbeing…A moment of respite at Erewhon at LACMA, surrounded by public art, will be a vital part of the LACMA experience.”

The Erewhon café is the first of three new dining concepts to open at LACMA, with a restaurant and wine bar slated to open later this year.

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The 5 Best Booths at miart 2026 https://ift.tt/TU2nqSt

The Venice Biennale might be just around the corner, but for this week at least, Milan’s art scene is commanding the spotlight. Under a balmy Po Valley sun, an extensive continental art crowd convened at the hulking Allianz MiCo convention center for miart 2026, the fair’s 30th edition, which opened its VIP day on April 16th.

Much has been made of Milan’s ascent as an art capital in recent years, fueled by a fresh cohort of international galleries opening in the city and talk of international collectors drawn in by Italy’s newly favorable tax regime. Yet miart is not the country’s only major art fair—Artissima in Turin and Arte Fiera in Bologna remain formidable Northern Italian counterparts—so its strength comes from the city’s pull. Collectors from across Europe, it turns out, hardly need persuading to spend time moving between the city’s world-class museums, foundations, and growing clutch of tastemaking galleries, all of which drew strong crowds during a packed Milan Art Week. Underscoring that promise is the arrival this year of trendy alternative fair Paris Internationale, which will host its first edition outside the French capital in Milan’s Palazzo Galbani over the weekend.

This year, miart hosts 160 galleries, down from 179 last year, spread across three maze-like floors of the convention center. Like last week’s EXPO Chicago, that lower number is not necessarily a bad thing. In the fair’s main Established section, booths are spacious and often cross-generational, spanning 20th-century masters and sharper contemporary presentations. The fair also shows a clear appetite for the new. That is especially evident in the fair’s Emergent section dedicated to young galleries, which has grown to 26 exhibitors from 20 last year.

So yes, there are plenty of works by Lucio Fontana, Giorgio de Chirico, and Giorgio Morandi on view—but also booths that take a more international and contemporary outlook. London’s influence is especially notable this year: Ginny on Frederick and Rose Easton join the main section alongside debutant Soft Opening and returning exhibitor Sadie Coles HQ, while Emergent includes younger galleries such as Des Bains, Ilenia, and South Parade.

By the fair’s opening hours, the VIP crowd seemed relaxed, and several were ready to buy. “I come to miart every year because it’s a great place to discover gems by major Italian artists as well as masterpieces by artists who are little known outside of the Italian context,” said London advisor Daniel Malarkey, who had bought two works within 20 minutes of the fair’s opening. Having arrived from Mona Hatoum and Cao Fei exhibitions at Fondazione Prada, he pointed to the broader pull of the city itself. “It’s definitely an unmissable time to come to Milan,” he said.

Here, we present the five best booths from miart 2026.

Gaa Gallery

Booth F14

With works by Katja Farin

Held On, 2026
Katja Farin
Gaa Gallery

Keep Close, 2026
Katja Farin
Gaa Gallery

Thorns for Flowers #3, 2025
Katja Farin
Gaa Gallery

Prensive, 2025
Katja Farin
Gaa Gallery

Spiraling Out, 2025
Katja Farin
Gaa Gallery

In Katja Farin’s paintings, bodies bend, glow, and distort. In a series of new works presented by New York and Cologne space Gaa Gallery, the American artist turns to the idea of care. These paintings are intended to explore, as the artist told Artsy, “holding patterns, how we hold each other and the expectations that come with either care or needing care.”

The encounters portrayed here feel at once intimate and estranged. In Moment of Touch (2025), an orange figure leans over a pale, loosely articulated body, its elongated arm wrapping around the smaller form in a gesture that reads as protective, controlling, or both. A ghostly grayscale figure hovers behind them, turning a domestic space into an ambiguous drama.

“Either you’re the person being held, or you’re the person holding, and [there’s an] emotional weight that comes with both of those things,” Farin added. A group of ceramics extends that tension into three dimensions: Mottled vessels bristle with spikes and protrusions, as though growing limbs or priming their own defenses. Paintings on the booth range in price from €1,500 ($1,766) to €16,000 ($18,845), with ceramic works priced at “around” €1,000 ($1,177).

Andrea Festa Fine Art

Booth F11

With works by Pedro Liñares and Leo Orta

Estudo para Cambará, 2025
Pedro Liñares
Andrea Festa Fine Art

BAT Sculpt #9, 2026
Leo Orta
Andrea Festa Fine Art

Estudo para Still Frames de um Dia de Trabalho, 2023
Pedro Liñares
Andrea Festa Fine Art

BAT Sculpt #7, 2026
Leo Orta
Andrea Festa Fine Art

Paris, 1830 (Balzac), 2026
Pedro Linares
Andrea Festa Fine Art

Rome gallery Andrea Festa Fine Art’s presentation, “One’s Natural Habitat,” pairs Brazilian artist Pedro Liñares’s hushed, elusive paintings with French artist Leo Orta’s uncanny sculptures in a booth that rewards slow looking. Despite their different media, both artists share an interest in how forms emerge through time and perception.

Liñares’s paintings are created by accumulating and then erasing pigment, drawing on domestic ornament and architectural fragments. In the abstract, minimal work Motivo 1 (2026), for instance, a pale vertical band marked with patterned geometrical motifs hovers against a black, worked surface that seems almost weathered into being.

Orta’s work, by contrast, pushes outward into space. His pint-sized, hybrid “Bat Sculpt” forms, made from salvaged materials including lava stone, appear to sprout from rough, branching clay supports. In BAT Sculpt #8 (2026), a porous black form reads as both bodily and architectural, as though testing how it might inhabit its surroundings.

“They’ve both been interested in this organic world,” said gallery director Victoria Shimano. “They highlight each other—they don’t interrupt each other.” Works on the booth range in price from €1,800 to €5,500 ($2,120 to $6,478).

P420

Booth C02

With works by Helene Appel, Riccardo Baruzzi, Irma Blank, Adelaide Cioni, June Crespo, Victor Fotso Nyie, Paolo Icaro, Merlin James, Khaled Jarada, Xian Kim, Francis Offman, Alessandro Pessoli, Alessandra Spranzi, Monika Stricker, Franco Vaccari, Pieter Vermeersch, and Shafei Xia.

Sink (with dishes), 2026
Helene Appel
P420

Remaining Gesture, 2026
Khaled Jarada
P420

Traction III, 2025
June Crespo
P420

Polar light, 2024
Monika Stricker
P420

Arbusti della valle – Agazzino, 2026
Riccardo Baruzzi
P420

Bright Birds, 2009
Merlin James
P420

Bologna tastemaker P420 brings the full heft of its roster to miart in a smart presentation showcasing different media, scales, and generations.

That breadth is immediately apparent in the pairing of two standout works at the front of the booth: Khaled Jarada’s Remaining Gesture (2026) and June Crespo’s Traction III (2025). Jarada’s dark, expressive charcoal of a man with a slingshot is raw and poignant. Crespo’s low, horizontal sculpture, by contrast, consists of four sawhorses with cement sculptures resting on top, evoking both bones and DIY tools.

Elsewhere, Helene Appel’s acrylic and oil painting Sink (with dishes) (2026) offers a quiet but exacting meditation on the everyday, while Alessandro Pessoli’s Vergine fiorentina (2026), a small acrylic portrait work, evokes religious intensity on the booth’s exterior.

With prices ranging from €8,000 ($9,423) to €45,000 ($53,005), the gallery struck an optimistic tone early in the VIP day. Gallery director Enrico Maria Branca noted the presence of many of their regular collectors as well as “very good international collectors.”

ML Fine Art (Matteo Lampertico)

Booth C02-C04

With works by Arturo Martini, Marino Marini, Lucio Fontana, Ettore Spalletti, Michelangelo Pistoletto, Piero Manzoni, Carla Accardi, Tancredi, Giorgio de Chirico, Jannis Kounellis, and Giorgio Morandi.

Situated on the top floor of the convention center in miart’s Established Anthology section—dedicated to presentations that display the “complexity, trajectories, and transformations of time”—ML Fine Art’s bumper booth does exactly what the section promises. The local stalwart presents a tightly curated survey of 20th-century Italian art, bringing works from its various movements—post-war, conceptual, and Arte Povera—into crisp relation.

The gallery deftly stages a series of smart conversations between works: A restrained Giorgio Morandi landscape hangs near a sparingly depicted Giorgio de Chirico cityscape (both works are priced in the mid six-figures apiece), while Carla Accardi’s rhythmic abstraction plays off Lucio Fontana’s spatial rupture. The result is a presentation that comes across as an active correspondence across movements.

This is a booth built on confidence in the work itself. At a fair increasingly defined by its contemporary edge, the gallery’s top-quality display is a reminder of miart’s enduring strength in historical Italian art—work that, when installed with rigor, can feel as urgent as anything made now.

M77 Gallery

Booth F17

With works by Carla Badiali, Alberto Biasi, Gianni Bertini, Martha Boto, Giosetta Fioroni, Agostino Iacurci, Emilio Isgrò, William Klein, Antonio Marras, Nino Migliori, Maria Lai, Marco Petrus, Ming Smith, Tino Stefanoni, Grazia Varisco, and Nanda Vigo.

David Murray in the Wings, 1978
Ming Smith
M77 Gallery

Hat + 5 roses, Paris, Vogue, 1956
William Klein
M77 Gallery

When the Cactus is in Bloom #10, 2026
Agostino Iacurci
M77 Gallery

When the Cactus is in Bloom, 2026
Agostino Iacurci
M77 Gallery

When the Cactus is in Bloom #11, 2026
Agostino Iacurci
M77 Gallery

M77’s booth is one of the fair’s most cohesive group presentations, using “New Directions”—the fair’s John Coltrane–inspired theme for this edition—as its organizing principle. Moving across generations and media, the booth maintains a sense of rhythm, improvisation, and syncopation.

That musical reference is most explicit in the special focus on Ming Smith. Installed against a dark blue wall under the title “Jazz Requiem,” her photographs translate jazz into visual form. Not just documenting musicians, Smith’s images channel the musical genre through blur, grain, shadow, and atmosphere. Her David Murray (1993–94), a vintage gelatin silver print of the saxophonist mid-performance, renders him as a dark, almost silhouetted presence. The result is less a straightforward portrait than a meditation on presence, performance, and spontaneity. M77 managing director Chiara Principe noted that Smith started photographing in the 1970s and was the first Black woman artist whose work was acquired by MoMA.

Elsewhere, the booth moves through very different registers. William Klein’s monochrome photograph Hat + 5 roses, Paris (1956) captures a woman in a dramatic floral hat smoking directly into the frame, her face partially veiled by drifting smoke; the image has the touching playfulness that made Klein such an influential photographic force. Agostino Iacurci’s painting When the Cactus is in Bloom 11 (2026), by contrast, introduces a brighter, more graphic tempo, with five cactus forms rising in strict vertical sequence against a pink ground. Works at the booth range from €5,000 ($5,889) to €150,000 ($176,686).

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