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Hauser & Wirth gallery in London, pictured here in 2013. The specific exhibition or artists shown are not implicit in the sanctions allegations. Courtesy: Wikimedia Commons.

Hauser & Wirth Cleared in UK Russia Sanctions Case

Southwark Crown Court dismissed charges against the gallery's UK subsidiary and art shipper Artay Rauchwerger Solomons after finding insufficient evidence that a collector was connected to Russia under the relevant sanctions rules

The Art Journal

Market

Elliott Arkin

Art Imitates Crypto

Artists claim victory over conceptual artwork dispute with multi-billion-dollar asset manager

George Nelson
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Washington. Stream, from the John Gerrard series Endling, shown at Pace's New York gallery in 2022

Pace Didn't Break the Mega Gallery Model. It Broke Itself

Marc Glimcher says the mega-gallery system is "unfixable". But artist testimony and Pace's own accounts point to a crisis rooted less in the art market than in the gallery leadership's own decisions. For Messy Business, Jeni Fulton reports

Jeni Fulton
Rembrandt Harmensz. van Rijn, “Let The Little Children Come Unto Me”

How a Lost Rembrandt Rewrote Art History

Mistakenly sold as the work of an unknown painter, Let the Little Children Come Unto Me has become one of the art world's most extraordinary rediscoveries - revealing new insights into Rembrandt's practice and the risks of modern interpretation

Precious Adesina
An art fair booth combining a large figurative painting of musicians on a teal background with a chaotic suspended sculpture of tangled metallic objects, and two smaller works on the adjacent wall.

Art Basel’s Little Brazil

Does the record turnout for Brazilian galleries at Basel reflect recent optimism about the country’s domestic art market?

Stephanie Brady Cummings

Opinion

Scarlett Johansson in Lost in Translation (2003), directed by Sofia Coppola. Courtesy of Focus Features

Help! I Hate... My Curator

A curator visited an artist's studio, expressed interest in their work, then vanished into the ether. How should the artist respond? Charlotte Jansen advises.

Charlotte Jansen
United States Court of International Trade, ICE, building, Sol LeWitt

Did You Know There is a Sol LeWitt in the ICE Building?

From a 1970s federal vision of civic art to Trump's America, a monumental Sol LeWitt in Manhattan's de facto immigration headquarters reveals how political change can rewrite an artwork's meaning. For Private Views, Gabriella Angeleti reports

Gabriella Angeleti
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A person sits at an easel in a spacious art studio, painting a large canvas surrounded by brushes, artwork, and creative supplies.

Help! I Hate... My Collector

A gallerist struggles to balance their collector’s aesthetic desires and guard their artist’s creative boundaries. Charlotte Jansen advises

Charlotte Jansen
Singing to the Nanomeadow Workshop, at IONE & MANN, London. 15 November 2025.

The Artworld Is Not Prepared For What's Coming

Visual arts have treated climate action as an ethical obligation. But, as extreme weather, rising costs and supply-chain disruption reshape the sector, sustainability must become a strategy for resilience

Heath Lowndes

Help! I Hate... The Silence

Artworld Agony Aunt Charlotte Jansen advises an artist facing public shunning in the context of Israel-Palestine

Charlotte Jansen
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Features

Diego on My Mind (1943), by Frida Kahlo, (detail), courtesy the National Institute of Fine Arts and Literature, Mexico

Who Actually Owns Frida Kahlo?

The Long Read: As Mexico prepares to send ten nationally protected Kahlo paintings to Spain, campaigners, bankers, politicians and museum officials are locked in a battle over who controls the country's cultural heritage

Stephanie Brady Cummings
Kyiv’s 11th-century Dormition Cathedral was hit by a drone last month.

How Many More Museums Before ICOM Expels Russia?

More than 500 Ukrainian cultural sites have been damaged since Russia's full-scale invasion. Campaigners say the International Council of Museums must decide whether it will enforce its own code of ethics

George Nelson
Nabatele. A Synagogue Over Venice, 2026, Anna Kamyshan

A Synagogue Floating Above Venice

Following the many controversies of the Biennale’s opening, are we in for more of the same? That isn’t the intention, says Ukrainian-Jewish artist, Anna Kamyshan

George Nelson
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Places

Joshua Oheneba-Takyi, Ghana

How Ghana’s Artists Built Their Own Ecosystem

From studios and galleries to residencies, artists have built the infrastructure sustaining Ghana’s flourishing contemporary art scene, stepping in where public support has failed

Gameli Hamelo
Lisette May Monroe, Neighbours, Collage, (2022)

What Happened to the Glasgow Art Market?

Glasgow has built an international reputation without relying on collectors or commercial galleries. As artists face rising rents and dwindling public support, that enviable model is coming under serious strain

Shalmali Shetty

Manila Beyond Institutional Capital

In Manila, the Philippines, the market ecology will simply collapse without the private sector due to a lack of sustainable public institution support

Alain Zedrick Camiling
A gallery installation featuring two nature photographs mounted on a large wall covered in white textured modules connected by concentric red-outlined rectangular spirals, in a raw concrete space.

Sweating the Future at Riga Art Week

From underfloor heating to private patronage, Riga Art Week revealed an art scene wrestling with the comforts and contradictions of post-Soviet capitalism

Joe Bobowicz

Profiles

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The Killing of Robert Kuzovkov

The Bashkir artist became one of the most visible dissenting voices around the Venice Biennale’s Russian Pavilion. Weeks later, he was shot dead near his home in Poland

George Nelson