“Downtown/Uptown: New York in the Eighties,” on view at Lévy Gorvy Dayan, stages the decade as a kind of controlled detonation. It’s a brisk, high-voltage gathering of works by Jean-Michel Basquiat, Keith Haring, Andy Warhol, Jeff Koons, Cindy Sherman, and their peers — a cast that once defined the city’s creative metabolism and still exerts an outsized gravitational pull on the present.
Art Basel Miami Beach is heading into December with a slightly altered cast. After touting a 285-gallery lineup earlier this year, the fair has lost at least eight of those dealers—an unflashy but telling shift for an event that prides itself on stability and spectacle in equal measure.
For the first time in its centuries-long history, the Musée du Louvre has added a living contemporary woman artist to its permanent collection. The artist is Marlene Dumas, the South African–born, Amsterdam-based painter whose work has long tested the limits of portraiture and empathy.
Art Basel Qatar Unveils Gallery Line-Up for Inaugural 2026 Edition Doha, October 2025 — In a bold move marking its
How do we act in the midst of multilayered tensions? How do we respond when the very right to live is still contested, day after day? How can we counter the opportunistic maneuvers of the world’s leading powers? And how did we end up here?
52 Walker’s latest exhibition, 52 HARDWAY, is less a show than an eruption—a collision between wrestling’s raw theatricality and the slow-burn spectacle of contemporary art.
Here, the Thomas Dane booth felt like a microcosm of the fair itself — expansive in ambition, generous in range, yet threaded by a consistent curatorial temperament. With artists from Hurvin Anderson’s quietly vivid interiors and figuration to Anya Gallaccio’s elemental installations, the space accommodated a layered conversation between abstraction, embodied presence, and materiality.
Ben Brown’s stand reads like a small museum of modern restlessness. Lalanne’s sheep graze in an impossible meadow of postwar masterpieces—Gerhard Richter’s precision meets Warhol’s gloss, while Boetti’s order confronts Polke’s chaos.
On October 12, inside Madrid’s Naval Museum, two climate activists defaced a 133-year-old mural of Christopher Columbus by splashing it with red paint. The act, captured on video, coincided with Spain’s national observance of Columbus Day—a moment the protesters sought to reframe as one of mourning rather than celebration.
Xiang embroidery has a history of at least two thousand years in Changsha. Its needlework is so intricate that it can render light, shadow, texture, movement—the translucence of petals, the flow of animal fur.
Nayland Blake’s exhibition at Matthew Marks Gallery is a time capsule of queer identity, desire, and vulnerability, unfolding across two Chelsea spaces. The artist’s signature mix of sculpture, installation, and ephemera retains its raw charge while opening itself to new readings in 2025.
Pedro Reyes has built a reputation for monumental sculpture, treating stone as both a material and a metaphor. His new exhibition at Lisson Gallery tightens this focus while also widening it, bringing together towering carvings with a debut series of mosaics.
Patricia Cronin is a groundbreaking feminist artist. Army of Love, currently showing at Chart Gallery, is representative of the boundary-pushing work she has done throughout her career. The show presents interpretations of Venus and Aphrodite statues from various periods and locations.
Hans Josephsohn and Günther Förg – A Dialogue stages a meeting of opposites: Josephsohn’s blunt, weighty figures with their restless surfaces set against Förg’s rigorous yet unstable grid paintings from the 1990s. Reliefs by both punctuate the show, allowing surface and shadow to take on equal importance.
The “Dutch Golden Age” is a period with which many art-educated individuals are familiar. The period, designated as beginning in the early 1620s and ending in 1672, is hallmarked by artists like Rembrandt Harmenszoon van Rijnand and Johannes Vermeer.
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