After the success of the exhibition “Fashion Folklore”, the Mucem dedicates its 2026 season to Mossi Traoré, a singular voice on the French fashion scene, for whom couture becomes a field of experimentation...

Alex Prager’s works are in collections of National Gallery of Victoria, Melbourne, The Museum of Modern Art, New York, The Whitney Museum of American Art, New York, Kunsthaus Zürich, Moderna Museet, Stockholm, and San Francisco Museum of Modern Art.

The 61st International Art Exhibition of La Biennale di Venezia – In Minor Keys by Koyo Kouoh (1967–2025) – will run from Saturday 9 May to Sunday 22 November 2026 (preview 6, 7, 8 May) at the Giardini and the Arsenale venues, and in various locations around Venice.

The Other side of the Mountain brings together contemporary artists working across the African continent and within the Afro-Nordic diaspora. They explore how cities and modern landscapes shape our connections to one another…

‘The Coming of Age’ features more than 120 artworks and objects, including historical artefacts and works by contemporary artists including John Coplans, Serena Korda, Suzanne Lacy, Anna Maria Maiolino, Rory Pilgrim, Paula Rego and more.

The Walker Art Center is a catalyst for the creative expression of artists and the active engagement of audiences. Focusing on the visual, performing, and media arts of our time, the Walker takes a global, multidisciplinary, and diverse approach...

Fotografiska Tallinn brings a photo exhibition to Finland for the first time. Entitled PLAY, the group exhibition is part of the European Capital of Culture programme...

Ralph Steadman is one of the most influential British graphic artists of the last 50 years. He is famous for his long collaboration with Hunter S. Thompson, notably illustrating Fear and Loathing in Las Vegas, which inspired two films in 1979 and 1998.

Reflecting on loss, resilience and the power of rebuilding, “Forever Marked By The Day: A Quarter Century of Mourning and Renewal” marks 25 years since the attacks on Sept. 11, 2001. Approached through an architectural lens, the exhibition fosters intergenerational dialogue...

Julie Bullard, a work of photographic fiction by Nadia Lee Cohen and Martin Parr. The book is designed as a late-seventies photo album, closely modelled on an example acquired from eBay, complete with faux leather spongy board covers…

The relational system of the human being is never a simple matter because it is always present, active, and mutable. The way in which this is made explicit is never predictable because it is conditioned by the external response

Entitled After It’s All Said, 39th Panorama of Brazilian Art, under the curatorship of Diane Lima, questions where artistic production has overflowed in the search to expand the limits of aesthetic representation through a radical exercise of imagination.

Here we are again, this time, rounding out our ninth year with 7,000 pages of Articles, Profiles, and Announcements in our growing archive and over 10 million visits strong. A very exciting journey it has been...

The URBAN ART BIENNALE is one of the world’s largest exhibitions of this anarchic art form, which transcends conventional ‘white cube’ aesthetics. Since 2011, every two years, the entire site of the Völklinger Hütte enters into dialog with this art form...

Gary Briechle’s practice is disciplined, almost monastic. Every day roving around Rockland, Maine in an SUV loaded with chemicals, looking at the same mundane scenes and subjects, but expecting different results.

“Magnum is a community of thought, a shared human quality, a curiosity about what is going on in the world, a respect for what is going on and a desire to transcribe it visually.” – Henri Cartier-Bresson

Brassaï is one of the most famous photographers in the history of photography. In the early 1930s, he set out with his camera on long nocturnal walks through Paris. Revolving around this treasure of images, the exhibition “Brassaï – The Secret Signs of Paris” includes over 160 black-and-white photographs.

The Assault of Illusion presents a reading of art as a tool for producing illusions and deceptions and explores how this, throughout its history, has progressively shaped both our desire and what we understand as “reality”.