The Art Journal

The Charles Ede booth at TEFAF Maastricht 2026 features two large framed paintings of grand, light-filled architectural interiors displayed on freestanding white walls. Between them, a classical stone sculpture of a draped torso stands on a pedestal, set against a decorative patterned backdrop.

TEFAF Maastricht 2026: A ‘Closed’ Chapter for the European Antiquities Market?

Dealers at TEFAF 2026 report increasing constraints on the antiquities trade following the recent implementation of EU cultural heritage regulations.

Ella Slater

Art Basel’s Vincenzo de Bellis on Neutrality, Risk and Evolution

New artistic and fair director says the fair “does not take any position” - yet its sector design, buyer strategy and global expansion actively shape the art market ecosystem

Tom Seymour

Trust, After the Photograph

At the Moody Center for the Arts, Imaging After Photography argues that the key question is no longer whether images are real, but how they are produced – and why we might still believe them

Simon Bainbridge

What Can the Artworld Expect from the Mamdani Era?

On 1 January, New Yorkers got a new mayor, and so did the city’s artworld

Rachel Kubrick

Making Room for Milton Avery

Sidelined by his peers, Milton Avery is being recast as a model of modernism – but how is the market responding?

Matthew Holman

TEFAF Maastricht 2026: A ‘Closed’ Chapter for the European Antiquities Market?

Dealers at TEFAF 2026 report increasing constraints on the antiquities trade following the recent implementation of EU cultural heritage regulations.

Ella Slater

Art Basel’s Vincenzo de Bellis on Neutrality, Risk and Evolution

New artistic and fair director says the fair “does not take any position” - yet its sector design, buyer strategy and global expansion actively shape the art market ecosystem

Tom Seymour

Trust, After the Photograph

At the Moody Center for the Arts, Imaging After Photography argues that the key question is no longer whether images are real, but how they are produced – and why we might still believe them

Simon Bainbridge

What Can the Artworld Expect from the Mamdani Era?

On 1 January, New Yorkers got a new mayor, and so did the city’s artworld

Rachel Kubrick

Making Room for Milton Avery

Sidelined by his peers, Milton Avery is being recast as a model of modernism – but how is the market responding?

Matthew Holman

Market

TEFAF Maastricht 2026: A ‘Closed’ Chapter for the European Antiquities Market?

The Global Art Market is Becoming More Local

Art Basel Hong Kong to Introduce New ‘Echoes’ Sector as 2026 Edition Appoints First Fully Asia-Based Curatorial Team

Art Basel’s Vincenzo de Bellis on Neutrality, Risk and Evolution

Trust, After the Photograph

What Can the Artworld Expect from the Mamdani Era?

Making Room for Milton Avery

TEFAF Maastricht 2026: A ‘Closed’ Chapter for the European Antiquities Market?

The Global Art Market is Becoming More Local

Art Basel Hong Kong to Introduce New ‘Echoes’ Sector as 2026 Edition Appoints First Fully Asia-Based Curatorial Team

Art Basel’s Vincenzo de Bellis on Neutrality, Risk and Evolution

Trust, After the Photograph

What Can the Artworld Expect from the Mamdani Era?

Making Room for Milton Avery