The first Art Basel Qatar heralds a new model for art fairs in the region and places Doha firmly on the global art stage. Staged across Msheireb and the Doha Design District, the fair resists the spectacle of endless booths in favor of museum-like rooms and solo presentations.

At David Zwirner’s West 19th Street space, Josh Smith returns to New York with Destiny, a show that feels both deliberately casual and oddly personal.

At Harper’s Chelsea 512 Gallery, Eleanor Johnson and Lydia Makin are looking back to the beginning. The artists’ joint exhibition, Entanglements, is rife with Biblical allusions and Baroque influences; the paintings explore and dissect classical techniques, peeling back eons to find the eternal creative force glimmering below.

Rather than presenting a thesis in linear form, Jafa builds a field of visual correspondences—rhymes, frictions, affinities—that resist easy resolution. The result is not chaos but a charged clarity, one that asks viewers to reconsider how museums make meaning, and at what cost.

Marian Goodman, the New York–born gallerist whose discerning eye and steady stewardship reshaped the international landscape of contemporary art, died on January 22 in Los Angeles at 97.

In a limestone cave on Indonesia’s Muna Island, long before Chauvet or Altamira, a human hand left its trace on a wall — and with it, the oldest known example of rock art in the world.