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Opinion

Venice Biennale: In Minor Keys Needs Major Work

The 61st edition of the biennale reflects the terminal insularity of the contemporary art world

George Nelson

An installation view of Kira Freije's exhibition Unspeak the Chorus at The Hepworth Wakefield features a series of skeletal, metal-framed figures draped in textiles and positioned throughout a minimalist, brightly lit gallery space.

Does the Turner Prize Still Move the Market?

The 2026 shortlist is notably light on market power, signalling an art prize that no longer converts reputation into instant value. Is this welcome?

Simon Bainbridge

A panoramic photo collage of Pyramid Lake shows a desert landscape with rocky outcrops, several people exploring the terrain, and an inset of a historic black-and-white photograph depicting the lake's iconic rock formations.

Notes from Reno

In her third Private Views column, Gabriella Angeleti reports from the desert – where she visits the Nevada Museum of Art’s triennial Art + Environment Summit

Gabriella Angeleti

Everybody Out! Striking at the Heart of the Artworld

A century after the 1926 United Kingdom general strike, threats by artists to withdraw their labour have produced mixed results

Lewis Bush

A wide shot shows the white, pillared facade of the Central Pavilion at the Venice Biennale, with the words "la Biennale" displayed above the entrance as people walk through the sunny courtyard.

Lost in Translation

In her second dispatch for Private Vie, Gabriella Angeleti asks whether curatorial spectacle has been replaced by hollow, grandiose language

Gabriella Angeleti

Champagne Socialism at the Whitney Art Party

In the first dispatch from Private Views, a new column on the New York art scene, the politics of socialism, Gaza and art-world patronage collide on the dancefloor at the Whitney’s booze-soaked fundraiser

Gabriella Angeleti

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The Ghost of Franco

Fifty years after the dictator’s death, Spain’s artists and museums are confronting a legacy that refuses to stay in the past

Alexandra F. Coego

AIDS Is Not Over. Why Does Its Art Feel So Historical?

HIV is not a closed chapter, yet AIDS-related art is increasingly treated as one. As institutions and markets embrace this work, what is lost when urgency becomes history?

Millen Brown-Ewens