Structures & Conditions
When renewable loans replace permanent restitution, expiry becomes the decisive moment—redistributing risk, recalibrating authority, and testing whether circulation can substitute for ownership.
Law & Politics
An edited version of Leonardo da Vinci’s drawing appeared in the opening sequence of Italy’s Winter Olympics coverage, prompting parliamentary questions and renewed scrutiny of cultural authorship within Olympic broadcast governance.
Structures & Conditions
A new French restitution law does not threaten to empty museums. It reveals how deeply institutional authority depends on legal immobility—and what changes when permanence becomes conditional.
Field Notes
As California College of the Arts prepares to close as an independent institution, its final years reveal a widening gap between cultural vitality and institutional survivability.
Industry Mapping
How historic houses regulate access, allocate attention, and redistribute authority—reframing the rise of home-based exhibitions not as an alternative to institutional power, but as its reconfiguration.
Structures & Conditions
How confidence operates as an institutional resource in contemporary art—stabilizing judgment under pressure while quietly displacing sustained perception.
Structures & Conditions
How interpretive systems in museums function as institutional infrastructure, shaping authority, legibility, and the conditions under which judgment and perception are allowed to occur.
Access Learning Lab & Critics Corner
After overseeing the New Museum’s transformation and expansion, Lisa Phillips will retire in April 2026, following the institution’s public reopening.
A framework proposing shared language for understanding responsibility, authorship, and governance in digital art systems shaped by automation.
The New Museum will reopen in March 2026 with an OMA-designed expansion that doubles its footprint and reshapes its Bowery campus.
An examination of creative pedagogy as a psychological system, tracing how ideals of iteration, critique, and “learning to see” presuppose specific temperamental capacities while quietly shaping who persists within art education.
A critical examination of how personality stability challenges the art world’s belief in endless formation, adaptability, and transformation—and how development narratives quietly function as mechanisms of selection.
At its twentieth edition, Art Dubai shifts from expansion to orchestration. Rather than staging novelty, the fair coordinates modernism, emergence, and digital practice as a temporal system—testing whether time itself can function as cultural infrastructure.
As generative systems turn narrative coherence into a cheap resource, the art market confronts a deeper problem: documentation can no longer bear the evidentiary weight it was never designed to carry.
White as the Color of 2026 reflects how restraint, neutrality, and control increasingly shape contemporary art and its institutions.
How cultural institutions absorb, defer, or operationalize responsibility after automation and authorship are named as governance issues in digital art systems.
After a turbulent year marked by staffing unrest, infrastructure stress and debate over a major renovation plan, the Louvre is navigating intensifying pressure over how it balances long-term ambition with day-to-day operations.
The art market has reorganized around exposure avoidance—reshaping liquidity, framing, pacing, and decision-making without altering surface stability.
Helene Schjerfbeck’s first major U.S. exhibition at The Met is less a rediscovery than a recalibration—revealing how restraint, persistence, and silence have long been misread in modern art’s dominant narratives.