Noticias de interés

The latest collection of multidisciplinary artist José Lévy’s Les Endiablés pieces for historic French hand-cut crystal house Saint-Louis continues to defy categorization. Imbued with a sense of whimsy and wonder, each can act as a vase, cup, candlestick holder, or sculpture. The Parisian artist—a Knight of the French Order of Arts and Letters, and the creative director of the France pavilion at the World Expo 2025 in Osaka—first introduced Les Endiablés in 2011. These playful additions further Lévy’s imaginative partnership with the maison. Plus, 2025's most visited museums and Apple turns 50.

From April 12–August 22, MoMA is presenting a major exhibition dedicated to Marcel Duchamp, tracing the artist’s six-decade career and his radical redefinition of what art can be. The show foregrounds Duchamp’s influence across movements from Cubism to Surrealism and Pop, emphasizing his role in shifting art from object-making to idea-driven practice through works like his readymades. Framed around the enduring question “Why is this art?,” the exhibition positions Duchamp as a foundational figure whose conceptual approach continues to shape contemporary art today. The Robert Rauschenberg Foundation has sold the artist’s 22-acre Captiva Island estate—long home to its residency program—to the owners of the South Seas resort, marking a major shift for the site after decades as a creative retreat. The waterfront property, which includes 10 buildings spanning from beach to bay, had been maintained by the foundation since Rauschenberg’s death in 2008 but became increasingly costly to sustain amid storm damage, climate risks, and rising maintenance expenses. While the buyers say they plan to integrate the estate into a larger resort development and incorporate art-related programming, the

Gagosian will present three major late paintings by Francis Bacon at its Paris gallery on rue de Castiglione, bringing the works together for the first time. The exhibition—timed to the 30th anniversary of Bacon’s 1996 Centre Pompidou retrospective—highlights large-scale works from the 1980s that exemplify the artist’s psychological intensity and pared-back late style. Staged in a city central to Bacon’s life and practice, the show underscores his enduring dialogue with Paris, where he maintained a studio and deep intellectual ties during the latter part of his career. Barclays Center has launched “Brooklyn Art Encounters,” a multi-year initiative expanding its public art program into artist residencies, digital works, and large-scale commissions, with Paul Pfeiffer inaugurating a residency focused on media workshops for justice-impacted youth. Beginning in May, the program introduces “Art on the Hour” on the arena’s Oculus screen, followed by major installations from Sarah Sze, Rashid Johnson, Mark Bradford, and Kambui Olujimi across the venue’s atrium, entrances, and plaza. Overseen by curator Andria Hickey and advised by leading museum figures, the initiative builds on prior com

Frieze New York will return to The Shed with a citywide program extending beyond the fair into venues including the Whitney Museum and Dia Chelsea. The curated program emphasizes performance, moving image, and site-responsive installations, with highlights including Jonathan González’s durational works at the Whitney, David Lamelas’ film-based presentations at Dia, and Kite’s exploration of Lakȟóta visual language also at The Shed. Alex Strada’s exhibition “Public Address” is now on view in Brooklyn’s Columbus Park through summer 2026, bringing the project into a public, community-facing setting. The work engages themes of migration, displacement, and civic space, extending Strada’s practice into an open-air context accessible to a broad audience. A mini documentary on Gleason’s Gym offers a boxing history lesson. Plus, 2025's most visited museums and Apple turns 50.

Edge at Hudson Yards, the highest indoor/outdoor observation deck in the Western Hemisphere, is currently undergoing a multi-million-dollar immersive art transformation set to debut this summer. Developed with creative studios including Journey, Moment Factory, and SOFTlab, the overhaul introduces environments like “Pulse,” “Crystal Cave,” and “Infinite City,” combining light, sound, and reflective materials to reinterpret New York’s skyline as an interactive, experiential journey. The update expands Edge beyond a traditional viewing platform into a hybrid entertainment destination, integrating immersive design, nightlife programming, and upgraded food and beverage offerings to deepen visitor engagement before and after reaching the sky deck. The Art Institute of Chicago has acquired Norman Rockwell’s The Dugout (1948)—a rare early oil study and the museum’s first work by the artist—as a gift from Bruce and Diana Rauner. Originally created for the September 4, 1948 cover of The Saturday Evening Post, the painting depicts dejected Chicago Cubs players after a loss to the Boston Braves, contrasting their disappointment with the jubilant crowd behind them. Widely considered one of the

What was on your mind at the time: When I was making this painting, I was feeling blue and unlovable. I kept thinking about what it means to want love while also feeling unsure you’ll ever fully receive it. Painting this wedding scene became a kind of emotional respite, a way to sit inside warmth and tenderness when I wasn’t feeling much of that in my own life. As a gay man, the traditional Hollywood fantasy of marriage has always felt slightly out of reach or complicated, but the longing for that kind of devotion is still very real for me. The title comes from a place of cautious hope, a desire to believe that love, somehow, gets the last word. How the work reflects your practice as a whole: This painting reflects my broader practice in that I often return to past cultural images and rework them through my own emotional reality. I’m interested in nostalgia not as escape, but as a place where past triumphs provide hope to contemporary hardships. Plus, Rockefeller Center introduces a sculpture by Bettina Pousttchi and Bergamo’s first...

Premiering today, March 13, Allison Janae Hamilton’s atmospheric cinematic commission, Venus of Ossabaw, marks the first narrative film work for the Lexington, Kentucky–born, New York City–based artist. A powerful introduction to Telfair Museums’ “Off the Coast of Paradise: Artists and Ossabaw Island, 1961-Now” exhibition, the film’s presence—as a projection on the building’s facade—forges a mission statement for the entire curation. The Savannah, Georgia–based museum’s curator Erin Dunn, along with independent curator Beryl Gilothwest, approached Hamilton with an opportunity to produce “a new work that engaged with Ossabaw Island’s history,” Hamilton tells Surface. “Once I developed the concept for Venus of Ossabaw, we sought additional funding from VIA Art Fund, which allowed us to produce the film at the scale and ambition the story required,” she continues. “The commission structure was ideal because it gave me the resources and institutional support to undertake serious historical research and to actually film on Ossabaw, which isn’t easily accessible.” In fact, this is the first major exhibition dedicated to the impact of the 6,000-acre barrier island. Hamilton’s work—which d

An Italian disco fever dream, artist duo Gerard & Kelly’s two-night, site-specific installation at The Met Cloisters—Saints at a Disco—wove together contributions from vocal ensemble The New Consort and scholar, music archivist, and DJ Disco Bambino. Commissioned by the Metropolitan Museum of Art and developed by Gerard & Kelly Foundation, the sound-and-movement work conversed with The Met Cloisters’ exhibition “Spectrum of Desire: Love, Sex, and Gender in the Middle Ages” open now through March 29. “This the first part of a multilayered project that highlights disco as a sanctuary, but also brings together the spiritual, mystic experience that you have at a discotheque with the ones you have at religious institutions,” Beppe Savoni, the curator behind Disco Bambino, shares with Surface. “My role was to play vinyls in the crypt, alongside the sarcophagi, with everything converted into a disco.” While Savoni primarily played Italian disco, with an audience positioned on a balcony above, The New Consort performed Gregorian a cappella renditions of disco classics like Donna Summer’s “I Feel Love,” and “You Make Me Feel (Mighty Real)” by Sylvester nearby. Throughout, dancers mimicked t

From the luminous, 30-foot-long Eternity Now (2021) elliptical dome at the inaugural “Forever Is Now” exhibition at the Pyramids of Giza to the towering Plasmático (2024) installation along the Monumental Axis of Brasília, Los Angeles–based fine artist Gisela Colón’s beguiling works have found critical recognition the world over. Colón’s latest exhibition, “La Montaña, El Monolito,” which opened March 14 at Museo de Arte Contemporáneo de Puerto Rico (MAC), marks a metaphoric return home. Born and raised in Puerto Rico, the artist introduced a shimmering site-specific sculpture into the Puerto Rican tropical rainforest last year, as part of ArteYunque. This new exhibition, however, represents a sprawling retrospective that covers more than 30 years of art and the context around its development. “As an institution entrusted with studying and disseminating contemporary cultural heritage, it is our responsibility to insist on bringing the work of our artists in the diaspora closer to home,” Marianne Ramírez Aponte, MAC’s Executive Director and Chief Curator, shares. “For this reason, we feel deeply proud to receive Gisela’s work at the museum and to share her contributions to the art w

Where to see it: The exhibition “I’ll Meet You There” was formed through a collaboration by Allison Nance and Lily Siegel, curators and friends that I’ve partnered with over the last decade on a variety of projects here in Washington, DC. They approached me with an idea to bring artwork directly to the audience—a city-wide roving exhibition art site, a truck with a mounted LED screen and sound that would travel and park throughout the city. I thought about how timely this was; we need access to art now more than ever and this would remove so many of the obstacles that artists face when trying to talk about our research. I’ve found that people can be suspicious of a gallery setting. This promotes access. The idea of the gallery is still there as a place to gather and understand the various ways that we organize ourselves through a terrain of human experiences. I usually screen this work at film festivals but I feel so lucky to finally have this work screened here in my hometown, in my own neighborhood. They will also screen artists’ time-based work on Hamiltonian Artists’ front window, where Lily is the executive director, and showcase [...]

Since 2023, Serge Sorokko Gallery has offered world-class post-war and contemporary art in downtown Napa, California. At 1500 First Street, its approximately 2,100-square-foot gallery by San Francisco-based architect Craig Steely has presented talents like Tina Barney, Candida Höfer, Donald Sultan, and Hunt Slonem. In February, that stage for art expanded. Just a few doors down, at 1301 First Street, Steely and team designed a new 4,000-square-foot Serge Sorokko Gallery space, creating an art trail between the two locales and allowing each to introduce new programming. This month, the first of those ventures opened. 1500 First Street, newly dedicated to solo exhibitions, is presenting the United States premiere of artist, photographer, and curator Joseph Kiblitsky’s “CUBA: Two Worlds – One Vision.” “Kiblitsky’s work immediately stood out to me for its clarity and emotional depth,” Sorokko says. “He approaches his subjects with respect and precision, creating photographs that are both observational and deeply artistic.” Meanwhile, at the new 1301 First Street location, works by Leonard Baskin, Adébayo Bolaji, Jordy Kerwick, Sultan, Slonem, Yuri Kuper, and more artists from Serge Sor

At the corner of Western Avenue and 76th Street in South Central Los Angeles, a 10,000-square-foot lot has been vacant of a permanent structure since 2016. Now through September 2027, artist Lauren Halsey is offering it to the community she grew up in. In collaboration with L.A.-based architecture studio Current Interests and landscape studio Green House, the artist has transformed the space into a monumental sculpture park, “sister dreamer lauren halsey’s architectural ode to tha surge n splurge of south central los angeles,” celebrating her neighborhood, personal heroes, and art as a public good. “I want the space to function like an oasis and have an idiosyncratic ambiance that resonates with people—that welcomes and holds people there,” Halsey—who first conceived of the sister dreamer project in 2006 while an architecture student at El Camino College in Torrance, California—explains to Surface. Combining architecture, art, and public engagement, the garden contains eight Hathoric columns featuring locals’ likenesses and a gridded, open-air structure, whose glass fiber reinforced concrete surfaces are all etched with symbols and language familiar to neighbors. Eight sphinxes als

In Cartier’s Newbury Street boutique, now through May 17, Brazilian artist Beatriz Milhazes’ monumental mobile Aquarium glints and glistens overhead. Cascading eight feet from the ceiling, the sculpture’s 15 strands incorporate precious, semiprecious, and ornamental stones, including diamonds, emeralds, rubies, sapphires, amethysts, and opals, as well as Akoya pearls, coral, black jade, turquoise, and more. This singular work is a translation of the kaleidoscopic colorful artistic signatures of Milhazes’ acclaimed collages, prints, and paintings. Aquarium is part of the maison’s Artist meets Artisan project, and is the result of a two-year collaboration between Milhazes and the experts in Cartier’s workshops. For its creation, Milhazes was able to parse through unused stones as if developing a palette of paints. The piece was completed in 2010 and has since been exhibited in Miami, Paris, and New York. Now the Boston boutique envelops the large-scale, bejeweled piece. “We can observe all the details from up close, and a brightness and vibrancy from afar, as if observing an aquarium from a dream world,” Milhazes says of the lavish adornment, with “fascinating elements dancing in the

On March 15, the Princeton University Art Museum debuted its latest exhibit, “Willem de Kooning: The Breakthrough Years, 1945–50,” revisiting the five-year stretch in which the artist began to arrive at the visual language that would define his career. Focused on the period surrounding his first solo exhibition in 1948, the show examines how de Kooning moved between figuration and abstraction, with both shaping the same body of work in increasingly complex ways. These years also marked his emergence as a central figure in the New York School and one of the artists who helped shape Abstract Expressionism. At the core of the exhibition are works from that 1948 presentation, including Princeton’s own Black Friday, alongside paintings drawn from more than a dozen museums and private collections. In total, the exhibition brings together eighteen works from these pivotal years in de Kooning’s oeuvre, offering a concentrated view of an especially important moment in the Dutch-American artist’s development. The exhibition, which will run through July 26, is arranged to provide fresh insights into the artist’s process, showing how he traces, copies, and cuts his imagery to develop his paint

For New York City and Granada–based artist Carlos Vega, the exhibition “Anima Mundi” (running now through April 18 at 513 W 20th Street) is a demonstration of the alchemical power of lead. Not, however, as a revelation in its mythic reputation to transmute into gold, but as a canvas for storytelling beyond its materiality. Within his large-scale lead works—which are accented with gemstones, postage stamps, Renaissance frames, and other ephemera—Vega conjures soulful scenes that bind the past, present, and future. Ultimately, Vega’s works connect spirituality, nature, and humanity through enchanting symbolism with philosophical punctuation. Lead is such a charged material—it carries toxicity, transformation, history, and this alchemical promise of becoming something greater than itself. Why is this your material of choice and what does it mean to you to make something luminous out of it? There is such a history and depth to lead, and I love the way, when a viewer recognizes these aspects of the material, it imbues my work with deeper layers, meanings. I confess, lead has truly bitten me. I find it such an alluring and tantalizing medium. Beyond the symbolism it instills into my work

Simon and Catriona retained consultants—and learned that the Australian site was the only non-heritage-listed pavilion in Venice. “That led us to wonder, ‘why can’t we build something contemporary that will serve the artists,’” he explains. “The planning approvals in Venice are challenging and the site is leased by the Australian government. We went to the government and asked if we could raise the money to build a new pavilion.” The Mordants sought out the original architect and received his consent to remove the first pavilion. They then invited every architect in Australia to submit a proposal for its replacement. They shortlisted six, requested detailed proposals, and assembled a panel. Ultimately, Melbourne’s Denton Corker Marshall was chosen. Simon and Catriona were lead donors on the project, and ten years later (in 2015) the pavilion opened. In this very space, Australia programmed “kith and kin,” an installation by First Nations artist Archie Moore, which won the 2024 Golden Lion for Best National Participation. The Quattro Gatti Gin integration is woven into this. “Last Biennale, Cat and I sponsored Adriano Pedrosa’s curated show. I also knew Koyo well,” Simon explains. “

Within “A Queer Arcana,” Palm Springs Art Museum bridges magic, spirituality, and occult knowledge with LGBTQ+ culture through artistic works produced in both the 20th and 21st centuries. Drawings, paintings, sculpture, and more forge a bond between social and political movements (including gay liberation and feminism) and the way queer communities explore the esoteric and look to magical practices for inspiration and solace. The exhibition was born from the California museum’s Q+Art initiative, which launched in 2023. “It is the only program of its kind dedicated to queer art and artists within a general art museum,” Christine Vendredi, JoAnn McGrath Executive Director, Palm Springs Art Museum, shares with Surface. “Rooted in Palm Springs’ role as a center for LGBTQ+ culture in the United States, Q+ Art advances the recognition of LGBTQ+ artists and art histories through exhibitions, programs, collection building, community engagement, and education, while expanding and challenging traditional art historical narratives.” Frantz divided the show into six sections: To Kiss the Spirits, The Deck Recast, Occult Knowledge, Magical Americas, Sex Magick, and Witches Heal. “The sections d

Dentro de la programación de Lala Music, Festival de música emergente hecha en Canarias, estaría Lala Pro, espacio formativo y de networking, con charlas, talleres y mesas redondas impartidas por profesionales de la industria musical —como managers, productores y programadores de festivales—, dirigido a artistas emergentes, y enfocado en internacionalización, digitalización y profesionalización desde la realidad ultraperiférica.

Editor’s Note: This story originally appeared in On Balance, the ARTnews newsletter about the art market and beyond. Sign up here to receive it every Wednesday. Ask incoming Expo Chicago fair director Kate Sierzputowski what her city’s art scene is like, and you get a couple of very illuminating examples to illustrate its nature, which she describes as “distinctly collaborative.”  For many years, dealer Rhona Hoffman hosted an August ping-pong tournament, Sierzputowski told ARTnews recently. “Everyone showed up, drank some beers, and put their name on the board, from gallery owners to art fair directors to art handlers to artists to heads of independent spaces and museum directors,” she said. (After Hoffman gave up her space in 2024, another longtime Windy City dealer, Carrie Secrist, hosted the event at her larger new space, Secrist Beach.) And the Renaissance Society, the University of Chicago venue beloved for its brainy shows, has for three years now hosted a November fundraiser at Seven Ten Lanes in Hyde Park, where ticket holders show off their skills at bowling; the event page for 2025 promised “strikes, spares, suds, and sliders.” It is in this distinctive Midwest city on L

To receive Morning Links in your inbox every weekday, sign up for our Breakfast with ARTnews newsletter.The HeadlinesREALITY CHECK. Timed with the opening of Art Paris this week, a new study on the diversity of Parisian galleries has revealed some striking findings, reports The Art Newspaper France. Led by curator and author Louise Thurin alongside César Lévy, founder of 193 Gallery, the study surveyed 108 established galleries across the French capital. The results show notable progress in the representation of women artists, who now make up 34.8 percent of gallery rosters—nearly triple the figure from a decade ago. However, artists born outside Europe remain significantly underrepresented, regardless of where they are currently based. According to the survey, only 4.7 percent of artists were born in Africa, 5.3 percent in Asia, 3.6 percent in Central or South America, and just 0.5 percent in Oceania. By contrast, European artists account for 67 percent of rosters, with North American artists making up 19 percent. Younger artists are also in short supply: those under the age of 40 represent just 15.3 percent of gallery rosters.GUER-NO-CA. Spain’s culture minister, Ernest Urtasun,