Installation view of Orientalism: Between Fact and Fantasy, on view June 12, 2026–February 28, 2027 at The Metropolitan Museum of Art. Photo by Anna-Marie Kellen, Courtesy of The Met.
NEW YORK, NY.- Now on view through February 28, 2027, an exhibition at The Met focuses on cross-cultural encounters in Europe and the Middle East during a period of growing imperialism and colonialism. Orientalism: Between Fact and Fantasy presents works of art traditionally identified as Orientalist in conversation with objects from the Middle East, fostering a deeper understanding of the contexts of exchange between cultures, beginning with Napoleon’s conquest of Egypt in 1798 and culminating in an exploration of the French-trained Ottoman painter Osman Hamdi Bey (1842–1910). It highlights the traditions of Islamic art and culture that transfixed 19th-century audiences alongside European and American creations, exploring complex issues surrounding influence and cultural appropriation. The exhibition is the first at The Met dedicated to Orientalism, and the first major collaboration between the Departments of European Paintings and Islamic Art. ... More
NEW YORK, NY.- Emilio Pucci had a passion for women, a visionary sense of style, and an eye for color and design. With these talents, he created a fashion house unlike any other. By the early ’50s, his boutique on the isle of Capri was catering to wealthy sophisticates, heiresses, and movie stars buying his “Capri pants,” silk scarves, and lightweight separates. By the end of the decade, Jacqueline Kennedy and Marilyn Monroe were wearing his dresses, and by the mid-’60s, the label was synonymous with the gilded lifestyle of an international jet set. The Pucci story is a modern epic with its roots in renaissance Italy: the brand’s founder Emilio Pucci, Marchese di Barsento, was a charismatic aristocrat whose lineage extends back to the 15th century. It is a story of evolution: a family company that grew from one tiny store to an international brand. And finally, it is a tale of innovation: Pucci was one of the first brands to bear a logo, and a pioneer of diversification into ... More
NEW YORK, NY.- In a poignant and deeply illuminating Asia Week New York webinar titled “Guardians of Tradition: How Tibetan Art Lives on Through Museum Collections,” a distinguished panel of curators and scholars gathered to honor the monumental legacy of collector, author, and psychologist Dr. Alice S. Kandell. The event marked a rare, reflective moment in the art world, tracking the extraordinary journey of sacred Tibetan Buddhist artifacts from the private domestic space into two of America’s most prominent public institutions. Over a forty-year collecting career, Dr. Kandell did something profoundly unique: rather than gathering isolated masterworks based on individual market values, she sought to preserve the holistic environment in which these sacred objects lived. Her tireless stewardship ultimately culminated in the historic gifting of two complete, im ... More
CHICAGO, IL.- The Art Institute of Chicago opened Willem de Kooning Drawing, on view June 14 through September 20, 2026. This is the first major exhibition to examine the artist’s expansive drawing practice, and the first solo presentation of his work at the Art Institute since 1969. Willem de Kooning Drawing gathers more than 200 works from across the globe, many of which have never been shown together before, to reveal how the act of drawing was foundational to de Kooning’s entire artistic process and production. The exhibition includes drawings along with major paintings, sculptures, and prints to showcase the totality of his graphic production, from his earliest existing works to his late calligraphic paintings. Rigorously trained at the Academy of Visual Arts and Technical Sciences in Rotterdam, de Kooning achieved a remarkable command of traditional drawing techniques while still in his teens. In 1926, at the age of 22, he immigrated to the United States to pursue his dream of becomi ... More
PARIS.- For over five decades, pioneering conceptual artist Charles Gaines has used systems to create series of works that mine the complex relationship between perception and meaning. This June, for his first exhibition at Hauser & Wirth’s Paris gallery, Gaines debuts a new sequence of Plexiglas works from his celebrated Numbers and Trees series—works of extraordinary intricacy that transform photographs of acacia trees, shot during a trip to Tanzania in 2023, into layered meditations on difference, identity and the limits of interpretation. Alongside these new gridworks, Gaines presents the latest installment of his Manifestos series, developed whilst in residence at the gallery’s Somerset location in 2025, in which he subjects two of the most consequential rulings in American legal history to an unexpected and revelatory musical logic. At the core of Gaines’ practice is a conviction as radical as it is precise: that a work of art need not originate in the artist’s i ... More
Magid stages five decades of presidential performance as a single theatrical event.
NEW YORK, NY.- Jill Magid's Notice of a Citizen considers the ambiguous relationship between a citizen and the presidency through a series of sculptures, neon works, and drawings. On view at Olney Gleason from June 11, 2026, the exhibition draws on the forms, language, and objects that structure public appearances in the White House Rose Garden - historically referred to as "the people's garden." Notice of a Citizen anticipates the release of the artist's career-spanning monograph, With Full Consent, (September 2026; Creative Time and Dancing Foxes Press). In Notice of a Citizen, Magid stages five decades of presidential performance as a single theatrical event, and the Rose Garden's ubiquitous, yet shifting image - so resonant in the American imagination - is made visible as a construction. The Platform Step (2026) is a partial reproduction of the West Terrace steps. On the widest limestone step, designed for presidential addresses, rests a bronze cast of the artist's heart. A chorus of neon sculptu ... More
Study of a work, 2026.
LONDON.- "Materials are the basis for my work that can be 2 or 3 dimensional, using layering, bending or folding, to determine the shape to emphasise a corner or to remake one. The work can cling to the wall or spring away or the structure of a piece is created by the tension of the fixing points." Lesley Foxcroft uses simple and everyday materials for her works, with them being made up of MDF, galvanized metal and copper, the latter a new element in Foxcroft's oeuvre. Her choice of materials carries with it a deliberate honesty, like Brutalist architecture, which insists on leaving materials exposed and unadorned, their nature made visible rather than concealed. The surfaces of MDF sit in juxtaposition with the harder qualities of galvanized metal and copper, each making the other more apparent. The use of these simple materials, with their absence of colour, diminishes interpretative interference for the viewer, allowing form to take precedence. The works can be understood as drawings in spac ... More
Holly Lowen, Midcourt, 2026. Pastel on paper. Unframed: 49.5 x 38.1 cm | 19 1/2 x 15 1/2 inches. Framed: 57.2 x 47 cm | 22 1/2 x 18 1/2 inches. Unique.
NEW YORK, NY.- Perrotin is presenting Colosseum, the gallery’s first exhibition with Holly Lowen and her debut in New York. Through rhythmically charged compositions, she interrogates the thin line between instinct and control. Known for high-energy scenes of athletes and animals, in her new body of work, Lowen expands these motifs into complex portraits that examine patterns of behavior both on and beyond the court. Originally trained in interior architecture before earning an MFA in painting, Lowen’s work is grounded in a strong understanding of color, form and composition. Working across oil, pen, charcoal, and pastel, she builds surfaces on top of an absorbent vinyl paint that creates a rich tonal depth, recalling Peter Paul Rubens’ use of opulent colors. In Colosseum, Lowen’s paintings of tennis players operate as studies in behavioral performance, where bodies cycle through moments of intensity, collapse, and recovery. While their movements echo the rhythm of battle, her fig ... More
Installation view, The Expanded Field of Mono-Ha.
NEW YORK, NY.- Fergus McCaffrey New York has opened The Expanded Field of Mono-Ha, an exhibition that reconsiders the emergence of Mono-Ha within the broader history of Japan’s postwar avant-garde. On view through July 31, 2026, the exhibition brings together three generations of artists whose work helped reshape ideas of sculpture, material, space, and artistic action in the decades after World War II. The exhibition takes as a point of departure two landmark works: Kazuo Shiraga’s Challenging Mud of 1955 and Nobuo Sekine’s Phase—Mother Earth of 1968. Widely regarded as defining expressions of Gutai and Mono-Ha respectively, both works were made through direct physical engagement with raw materials such as mud, water, earth, cement, and concrete. In different ways, they gave form to the “concreteness” and embodied force of Gutai, as well as the matter-of-fact presence central to Mono-Ha, often described as the “school of things.” Shiraga’s Challenging Mud ... More
Laura Ní Fhlaibhín, an casadh (the turn) at Elizabeth Fort for Cork Midsummer Festival, June 2026. Photo: Jed Niezgoda. Courtesy of The Glucksman.
CORK.- The Glucksman and Cork Midsummer present an casadh (the turn) by Laura Ní Fhlaibhín—an offiste bio-sculptural installation hosted at the historic Elizabeth Fort, Cork City, from June 13 to 20. an casadh unfolds this Cork Midsummer festival as a living installation of sculptural wormeries activated by the artist in her performance rituals tae na bpéist that consider the historical significance of the site as a women’s convict depot. This work explores kinship, ritual and nourishment, reflecting on how we are implicated in conditions that are at once sustaining and precarious. Across the exhibition, local earthworms will live within sculptural cocoons processing organic waste into vermicompost. In their interconnected ovoid homes these creatures will turn over the soil to generate rich fertilizer, focusing attention on ecological co-existence. Ní Fhlaibhín draws upon personal experience of endometrial illness through sculptural assemblage and ritual to consider health, vitality ... More
High Sticking Chair, 1990, Frank Gehry, Clear Maple.
RHINEBECK, NY.- ‘T’ Space is presenting Furniture by Architects / Sculpture by Margaret Saliske, curated by Mark McDonald, co-founder of Fifty/50 and, for over four decades, a leading authority on twentieth-century design. The exhibition brings architect-designed furniture, fixtures, and objects into dialogue with an installation of small wall sculpture by Margaret Saliske. Set within the Steven Myron Holl Foundation Archive, the works can be read as microcosms of architectural ideation, testing relationships between form, structure, material, and space. Reflecting the interdisciplinary ethos of ‘T’ Space, the exhibition explores the intersections of sculpture, furniture, architectural models, and exhibition space, inviting visitors to consider how objects shape our understanding of scale, context, function, materiality, and spatial experience. As Mark McDonald notes, “In the context of ‘T’ Space, and alongside architecture and furniture, [Saliske’s] sculptures ... More
Joan Snyder, Vertical Harmony, 2026. Oil, acrylic, paper mache, burlap, fabric, paper, wooden balls, rosebuds, dried flowers, straw, pencil on linen, 152.4 × 182.9 cm (60 × 72 in).
PARIS.- Thaddaeus Ropac Paris Marais presents Earthsongs, Joan Snyder’s first solo exhibition in France. In these new paintings and works on paper, created over the last year, Snyder continues and extends the ideas and motifs that have defined her practice over her career of six decades. Simultaneously ethereal and grounded, the works oscillate between the otherworldly and the visceral, reaffirming Snyder’s position as a pioneer of a vision of abstraction that is at once expansive and profoundly personal. Snyder nurtures a synergy between abstraction and autobiography, with each work forming a diaristic episode in which narrative guides formal investigation. Her practice has been overtly feminist since its inception, rooted in her role as a defining figure of the women’s art movement that flourished in the 1970s. She translates women’s lived experience into a complex and personal vocabulary of forms to which she constantly returns: roses and breasts, trees and totems, ponds ... More
François Jacob Young Boy, 2026, Öl auf Leinwand, 23 x 18 cm.
COLOGNE.- François Jacob carries painting through his canvases like a feeling, each one inscribed with an epic moment. Yet while the subject itself once determined this sense of the epic, it now increasingly recedes in favor of a concentrated engagement with the conditions of the image and of painting itself. What is depicted remains present, yet loses its clarity. Figures, spaces, and situations appear less as narrative propositions than as stand-ins, as points of departure for painterly decisions. Color, surface, and composition partially detach themselves from the object and begin to develop a life of their own. This becomes particularly evident in Jacob’s use of color. It no longer adheres to the boundaries of form, but moves beyond them, shifting contours and overlaying planes. Hard edges stand beside diffuse transitions. Pictorial spaces emerge that appear less coherent than folded, displaced against one another, or layered into each other. Within this, one senses an affinity to colla ... More
Quote One is never satisfied with the portrait of a person one knows. Goethe
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Mudam Luxembourg opens 1980s-focused exhibition 'Video Killed the Radio Star' LUXEMBOURG.- The 1980s were defined by paradoxes made visible through the image: the gleaming surface of pop culture overlapped with the deep fractures of global politics, as new technologies intersected with old ideologies; the birth of MTV and the shadow of Chernobyl both reached audiences through the same mediated lens. Video Killed the Radio Star, a new exhibition at Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean, explores the transformations of a period when image overtook voice, access replaced ownership, and aesthetics began to convey power in new ways, and its legacy to the present. From the Cold War’s final acts to the rise of neoliberalism under Margaret Thatcher and Ronald Reagan, the 1980s marked a profound reorientation of Western culture, soon reframed by the emergence of other cultural forces, among them feminist and queer theories and critiques, which expanded and contested the dominant narratives of postmodernism. This exhibition invites us to consider what we ... More
Flemish Community acquires Jacob Jordaens drawing for display at Museum Plantin-Moretus ANTWERP.- Following its recent sale by Colnaghi, Jacob Jordaens's The Triumph of Minerva has entered the Collection of the Flemish Community and is now on display at the Museum Plantin-Moretus in Antwerp, where it will remain on view until 5 July 2026. The acquisition secures for public ownership one of the most important surviving drawings by the artist to have remained in private hands and returns to Antwerp a work whose subject is deeply connected to the city's own history. Executed around 1655–60, The Triumph of Minerva belongs to the final decades of Jordaens’s career. The composition centres on Minerva, goddess of wisdom, crowned by Time and holding the shield of Medusa and the palm of victory. Around her gather Mercury, Hercules, Bellona, Fame and a multitude of allegorical figures, while Mars sits defeated in the foreground, his armour and weapons scattered beneath him. As Roger-Adolf d’Hulst observed, the drawing constitutes an allegory of peace and prosperity, celebratin ... More
Artist Fred Tomaselli debuts new resin paintings and newspaper collages in New York NEW YORK, NY.- James Cohan is presenting Blooms Disrupted, an exhibition of new and recent work by Fred Tomaselli, on view from May 15 through June 27, 2026, at the gallery’s 48 Walker Street location. This is Tomaselli’s seventh solo exhibition with James Cohan. For over forty years, Fred Tomaselli has invoked the power of nature through deftly constructed maximalist paintings and works on paper. Tomaselli’s singular painting approach fuses organic matter, photographic reproductions, and dense ornamentation into surfaces that seem to pulse with their own internal light. His work has always moved between registers: the microscopic and the cosmic, the botanical and the geometric, the careful study of the shape of nature and the vertigo of deep space. In Blooms Disrupted, the garden is Tomaselli’s primary subject, which he uses to consider the natural world as a counterweight to the urgent rush of news and media that so often interrupts our private realities. Inspired by visits to R ... More
Elton John and David Furnish's photography collection goes on view at Jeu de Paume PARIS.- Sir Elton John began collecting photography in 1991. Today, with over 7,000 images, the private collection he shares with David Furnish is considered one of the largest in the world. Renowned for its exceptional quality, scope, and remarkable depth, the collection spans the 20th and 21st centuries, and includes many works considered pivotal in the history of photography. Produced by London’s Victoria and Albert Museum, the exhibition showcases over 300 prints covering the period from 1950 to the present day, celebrating the work of over 90 international photographers. The Paris show at the Jeu de Paume offers a selection of images that tell the story of modern and contemporary photography, including work by Robert Mapplethorpe, Herb Ritts, Nan Goldin, Diane Arbus, William Klein, Ryan McGinley, Ai Weiwei, Irving Penn, and Richard Avedon. Marking over thirty years of collecting, Fragile Beauty celebrates Sir Elton John and David Furnish’s passion for photography, reflecting the ... More
Makeda Best appointed MoMA's next Ehrenkranz Chief Curator of Photography NEW YORK, NY.- The Museum of Modern Art announces the appointment of Makeda Best as the next Joel and Anne Ehrenkranz Chief Curator of Photography. MoMA has exhibited and collected photography since its founding in 1929, and formally established a Department of Photography in 1940. When she joins MoMA in September 2026, Best will lead a department with a renowned legacy and an unparalleled collection of more than 30,000 works that continues to play a defining global role in exploring photography’s diverse and powerful impacts on modern life. She will guide all aspects of the department, including its installations, acquisitions, exhibitions, publications, and loan programs. Best succeeds Clément Chéroux, who served as chief curator from 2020 to 2022 and now directs the Fondation Henri Cartier-Bresson, Paris. Roxana Marcoci, MoMA’s David Dechman Senior Curator of Photography, has served as the acting chief curator in the interim. “After an extensive international search, we are thrilled ... More
Astrup Fearnley Museet opens major retrospective of Colombian artist Beatriz González OSLO.- Astrup Fearnley Museet presents a retrospective of Beatriz González (1932–2026). Known as la maestra of Colombian art, González was one of the most important and influential Latin American artists of the 20th century. Bringing together over 150 artworks, this major exhibition, planned in close collaboration with the artist, explores González’s practice from the 1960s until her passing in January 2026. With a distinctive graphic style and bold palette, González’s work explores the power and impact of the images we encounter every day, probing their potential to communicate and shape our perceptions of the world. Using found images amassed throughout her life in Colombia — ranging from tattered reproductions of revered paintings in Western art history to newspaper clippings reporting on violent murder, conflict and loss —González transformed her sources through her practice. She revealed how images reflect power and politics on personal and social scales by playf ... More
Artist Dilek Winchester debuts first Swiss solo exhibition at der TANK BASEL.- In a magnificent television interview—shared with me by Istanbul-based artist Dilek Winchester—the Egyptian historian Nawal El Saadawi says when she hears the phase “Middle East” she becomes upset. “Middle to whom?” she screams. Countries like Egypt, she explains, were called the “Middle East” relative to Britain, while India became the “Far East.” With her very characteristic sharpness she adds: “When I go to London, I say I go to the Middle West, [...] and when I go to the United States I am going to the Far West.” The audience in the live broadcast laughs at her comment. She replies that this laughing is colonialism and that nobody laughs when hearing “Middle East.” Living in the awareness of power conditions that have devastating consequences for our social organization, for our social behaviors, is living in a wound. The wound as the permanent and growing pain that is eroding our capacity to act according to the ... More
Kunsthalle Zürich opens Henrik Olesen's first solo show in Zurich in nearly two decades ZURICH.- With Copies of real-life objects, tools and food, Kunsthalle Zürich presents the first solo exhibition by Henrik Olesen (b. 1967 in Esbjerg, Denmark) in Zurich for nearly two decades. Featuring new productions as well as a selection of existing works, the exhibition offers an insight into the artist's multifaceted working method and his longstanding exploration of normative systems of categorisation. Since the 1990s, Henrik Olesen has been grappling with questions of identity, language and bodies, and their construction, in his work in order to describe power relations and social norms. In doing so, he draws on a wide range of visual and material sources—from specific works of art and stylistic languages to simple materials and everyday objects—and incorporates a broad spectrum of (art) historical, subcultural, political and literary references in his work. For the exhibition at Kunsthalle Zürich, Olesen pursues his ongoing interest in food chains as well as processes of prod ... More
Gagosian to exhibit exceptional works by modern and contemporary masters in Basel BASEL.- Gagosian announced its participation in Art Basel 2026 with a multi-artist booth at the fair as well as historical works by Chris Burden and Ed Ruscha in the Unlimited sector. In addition, the presentation extends to Selections at the gallery’s space at Rheinsprung 1, a short walk from Messe Basel. Across these sites, Gagosian offers a grouping of outstanding works by twentieth- and twenty-first-century greats, reflecting the gallery’s consistent championing of innovative and influential creative practice through institutional-quality exhibitions and projects. Among the important paintings on view are several by Helen Frankenthaler. A member of the second generation of postwar American abstract painters, Frankenthaler played a pivotal role in the transition from Abstract Expressionism to Color Field painting. The expansively scaled Jockey (1978) embodies the artist’s lyrical, exploratory approach to abstraction, also reflecting the shift from oil to acrylic that she made ... More
Drawing Room presents two-person exhibition by Jill Baroff and Stefana McClure HAMBURG.- Drawing Room is presenting the exhibition For Now, featuring existing and newly produced works by the internationally renowned artists Jill Baroff and Stefana McClure. In this two-person exhibition, the artists explore notions of temporality and demonstrate how the concept of time is integrated into the structure and methodology of their respective conceptual and minimalist practices. In her works, Jill Baroff describes patterns of movement that run through nature. Some of the works on display, such as the four-part piece International, 2026 from the series Tide Drawings, make time visible through measurements, whilst others approach the same theme through perception rather than data. The erasure and reconstruction of information, as well as the condensation of time, are characteristic of Stefana McClure’s work. Her keen interest in language, literature and film is visible and palpable in every piece, as seen, for example, in the works from her films on paper series. Although the ... More
Haus am Waldsee marks 80th anniversary with group exhibition 'Wo ich wohne' BERLIN.- An apartment slips within its architectural structure. Gradually, it sinks, floor by floor, until it threatens to disappear into the sewer system. Yet the building’s residents all ignore this mysterious transformation. The narrator in Ilse Aichinger’s short story ‘Wo ich wohne’ holds on to the hope, until the very end, that someone is finally going to break the silence: “Verzeihen Sie, aber wohnten Sie nicht gestern noch einen Stock höher?” What kinds of structures shape the places we live and work in? What traces of use are inscribed within them and resonate beyond them? Aichinger’s ‘Wo ich wohne’ not only lends its title to this exhibition on the occasion of Haus am Waldsee’s 80th anniversary, but her story also points to the intersection between social conditions and built environments. This relationship is continually renegotiated in the programming which invites a productive friction between artistic interventions and the instituti ... More
Artists on Artists: Anicka Yi x Paul Thek
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On a day like today, American-French painter Mary Cassatt died
June 14, 1926. Mary Stevenson Cassatt (May 22, 1844 - June 14, 1926) was an American painter and printmaker. She was born in Allegheny, Pennsylvania (now part of Pittsburgh's North Side), but lived most of her adult life in France, where she befriended Edgar Degas and exhibited with the Impressionists. In this image: Mary Cassatt, Maternal Caress, 1896. Oil on canvas, 15 × 21 1/4 in. (38.1 × 54 cm). Philadelphia Museum of Art: Bequest of Aaron E. Carpenter, 1970-75-2.
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