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2 weeks ago | 
news.artnet.com | J. Cabelle Ahn
Lotus L. Kang is a channeler of memories—both collective and personal. In her latest exhibition, “Already“ (on view at 52 Walker through June 7, 2025), the Brooklyn-based Canadian artist layers the gallery’s loft-like space with dualities.
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1 month ago | 
theartnewspaper.com | J. Cabelle Ahn
Long before art fairs, advisory firms and mega-galleries, there were barbers, tailors and innkeepers managing the flow of art in 17th-century Italy. Beyond the Fringe, an exhibition at Nicholas Hall Gallery in New York, spotlights this understudied corner of the early art market, when a dramatic increase in the supply of art helped expand the trade to a surprising new class of participants.
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1 month ago | 
theartnewspaper.com | J. Cabelle Ahn
Este quarto parece uma República! (This bedroom looks like a republic!), on view until 6 October at MoMA PS1 in Queens, marks the Angolan artist Sandra Poulson’s first museum exhibition. It arrives at a very poignant moment. Taking an archaeological approach to materials, Poulson creates installations that explore how symbols embedded in common objects sustain global power structures—a theme fit for the new era of trade protectionism.
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1 month ago | 
theartnewspaper.com | J. Cabelle Ahn
“Nothing gold can stay,” as Robert Frost wrote in his 1923 Pulitzer Prize-winning poem—but Solid Gold at the Brooklyn Museum (until 6 July) insists on the material’s endurance. Spanning fine art, numismatics, fashion, jewellery and design, the exhibition traces gold’s perennial association with political, economic, technological and religious power from ancient civilisations to the present day.
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2 months ago | 
theartnewspaper.com | Carlie Porterfield |Tim Schneider |J. Cabelle Ahn
Three years into a downturn of the global art market, fairs and dealers dedicated to prints say editioned works on paper are faring better than other media and have even managed to capture the attention of a new collector class. The phenomenon may have been on display best on Thursday (27 March) at the VIP preview of the annual International Fine Print Dealers Association’s (IFPDA) Print Fair (until 30 March).
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2 months ago | 
theartnewspaper.com | Elena Goukassian |J. Cabelle Ahn |Brian Allen
Almost a century after it first opened its doors on Manhattan’s Upper East Side, the Frick Collection unveils its first-ever education centre. Part of the museum’s renovation—repurposing 60,000 sq. ft of existing space, and adding 27,000 sq. ft of new space—the Ian Wardropper Education Room is an 846-sq.-ft multipurpose space named after the museum’s outgoing director.
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2 months ago | 
theartnewspaper.com | J. Cabelle Ahn |Robert B. Simon |J. S. Marcus |J.S. Marcus |Hilarie M. Sheets
The Frick Collection, one of New York’s most beloved art institutions, reopens to the public on 17 April after a five-year hiatus.
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2 months ago | 
theartnewspaper.com | Anna Brady |George Nelson |J. Cabelle Ahn
In June 1985, a group of 16 print dealers hung their wares on the walls of the old Diploma Galleries in the Royal Academy of Art for the very first London Original Print Fair (LOPF), now the city’s longest running art fair. “I remember standing at the door and wondering if anyone would come,” says Gordon Cooke, the fair’s chairman and founder, in a video to mark its 40th anniversary this year.
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2 months ago | 
theartnewspaper.com | J. Cabelle Ahn
For the first time, four fairs dedicated to prints and multiples will take place across three countries later this month. On view 20-23 March, the London Original Print Fair (LOPF) will celebrate its 40th anniversary only days before the Brooklyn Fine Art Print Fair (27-30 March) holds its inaugural edition in the borough’s Powerhouse Arts complex. Unfolding concurrent with the Brooklyn fair will be the tried and tested Paris Print Fair (27-30 March) and New York’s IFPDA Print Fair (27-30 March).
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Feb 21, 2025 | 
theartnewspaper.com | J. Cabelle Ahn |Julia Halperin |Kabir Jhala |Anna Brady
Although institutions often pave the way for influential curatorial approaches, it tends to be through the back-and-forth interplay with the art trade that these approaches proliferate into wider trends. Such has been the case in recent years with the growing phenomenon of transhistorical exhibitions, particularly those pairing the Old Masters with contemporary artists.
