FINE ART
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Jasper Johns returns to Gagosian in a survey of crosshatch paintings, forcing a long-overdue reassessment of what may be the most misunderstood period of the 95-year-old artist's career.
Boston's Midtown Hotel features AI created “Warhols” in its decor, opting for algorithmic slop over human creativity.
The Last Dyes at David Zwirner marks the final group of photographs by the legendary photographer produced using a now extinct printing process that yields spectacular color images.
Calder Gardens, the latest addition to Philadelphia's museum mile, doesn't contrast with Alexander Calder's aesthetic. It mirrors it.
Helen Frankenthaler: A Grand Sweep will be up until February in MoMA’s second-floor atrium, a soaring space about the size of Frankenthaler's boundless ambition.
The Museum of the City of New York marks Robert Rauschenberg's centennial with an exhibition that zeros in on the artist's relationship with photography and the metropolis that shaped his revolutionary vision.
Sotheby’s latest exhibition at its new global headquarters in the Breuer Building on Madison Avenue has a combined market value in excess of $2 billion.
VIPs swarmed the Miami Convention Center Wednesday for the 23rd edition of Art Basel Miami Beach, which comes at a time of angst and uncertainty in the fine art market.
The art world makes its annual southern pilgrimage December 2-7, and for seven days, Miami becomes the proving ground where reputations are minted, careers launched, and the very definition of contemporary art is contested. Here’s your guide.
Two monumental portraits of Patti Smith dominate Franz Gertsch. Presence, which runs through January 31, at Hauser & Wirth, 134 Wooster Street, Soho.
Mitchell's "black paintings" on view at David Zwirner in Chelsea are far more psychologically complex than mere impressions of seascapes and shorelines.
Beyond spiders and cells, the mega-gallery focuses on an often overlooked segment of Bourgeois's decades-long career through January 24.
Louis Vuitton unveils its first New York art exhibition: two Gustave Caillebotte masterpieces installed on the fifth floor of its temporary 57th Street store.
Paul Richard turns up in the most unlikely of places, like perched on top of a wet bar in a tony townhouse on Manhattan's Upper East Side. That's where he was the other day, showing his latest work.
If you want to dine at the New Museum’s high-end restaurant when it opens this fall, you’ll have to walk through New York's premiere graffiti spot to get there.
Flora Yukhnovich is featured amid the great masters of The Frick Collection in New York followed by the opening of a solo show at Hauser & Wirth Downtown Los Angeles.
Lévy Gorvy Dayan's Downtown/Uptown: New York in the Eighties captures a "messy, contradictory, and occasionally brutal" era in NYC art.
In "Man Ray: When Objects Dream" the Met gives Man Ray and his rayographs their props. It’s about time.
The fall art season is officially underway with the opening of The Armory Show. With more than two hundred exhibitors, the fair can be overwhelming, so it helps to go in with a plan, and we are here to help.
Not seen since 1985, Jorge Luis Rodriguez’s installation Orisha/Santos: An Artistic Interpretation of the Seven African Powers now at Ki Smith Gallery in the LES.
A peculiar New York City art form that has thrived for decades at the intersection of transportation, art and culture now faces the end of the line.
Now at Plato gallery on the Lower East Side, Exaltation, curated by gallery owner Elena Platonova.
Almost 50 years after she arrived on 43rd Street and two decades after she quit it, Dickson’s non-Times Square work is drawing new attention. And it’s about time.
The portfolio of Robert Mapplethorpe outtakes, held privately for decades, is being shown for the first time by the Kinsey Institute.
Next spring, MoMA will present Marcel Duchamp, a sprawling retrospective of the great provocateur’s work.
More than a quarter of the known works by the Sphinx of Delft are on display at the Frick and the Met.
Hollis Taggart recently expanded, adding a new location on the Lower East Side dedicated to contemporary and emerging art.
Lori Ziimmer’s incendiary offering, I'm Not Your Muse: Uncovering the Overshadowed Brilliance of Women Artists & Visionaries, reads like a manifesto wrapped in meticulous scholarship.
As the 2026 edition unfolds this weekend, it’s clear that the Winter Show’s evolution is continuing with an increasing focus on art and an updated definition of “antique.”