Timetable

Concerning Berenice Olmedo’s brutal idealism

A tribute to Enrico Crispolti’s intellectual legacy

Grazyna Kulczyk reveals her new Muzeum Susch (an interview)

How do we choose when it comes to buying art?

Laura Lima and the art of political suspension (an interview)

In preparation for the debut of Jill Mulleady at Galerie Neu

The top ten art biopics

B. Wurtz: how to rule over readymades and help art students (an interview)

Balthus: Beyeler honors Klossowski the younger

Rediscovering the Mediterranean: finally a show from an European perspective

With regard to Sam Falls’ recent works about time and nature

Zeitz MOCAA: in the midst of the chaos there is opportunity

Elke Lente, Filip Gilissen and Couturissimo at the Pentahotel

Mantegna and Bellini at the NG sparks debate in Italy

Lutz & Guggisberg, a single artist with four hands and eight gardens

Walter Swennen: free riding from WIELS to La Triennale

Top Art Nouveau dealer Robert Zehil smiles at China (an interview)

JR tests the ethical side of the art system (an interview)

Who said art about other art is boring? (Christian Jankowski at Petzel)

At the show with the artist, who curated the show (Kasper Bosmans)

Francesco Joao and humidity (an interview)

Is neophilia killing contemporary art?

Philippe Model will stage Musée de Valence’s collection

Testing consensus in the arts

Is curator the hero 10th Berlin Biennale doesn’t need?

Alberto Bonisoli promises more money for Italian Ministry of Culture

Does site specific painting exist? Nicolas Party questions René Magritte

Diego Marcon and the Ludwig paradigma

Boris Vervoordt and the future of the past-present (an interview)

Shining a light into Adam Gordon’s darkness

A heartfelt farewell to Franz Staehler

The Red Hour has come at Dak’Art

A new restoration for Titian’s Assumption of the Virgin, and once again it’s not Italy paying the bill

Is Art Monte Carlo becoming the navel of the Art Riviera?

The daring Renaissance of Gaudenzio Ferrari

The top 10 art movies list

How Milan and Warsaw are contributing to the history of Albanian contemporary art

Friend of a Friend puts Warsaw on the emerging art map

Why does Juan Sánchez Cotán’s cabbage look so contemporary?

A must read art book: The Art of Rivalry

Sam Falls’ first institutional exhibition in Europe is an elegiac statement

A family business: Querini Stampalia compares Mantegna and Bellini

Politics and social issues dominate the New Museum Triennial 2018

Alice Guareschi and M Museum’s Time and Calendar Dial

More than 160 million reasons to buy half of a Rembrandt

At Tefaf 2018 oysters instead of tulips

Philippe van Snick. The artists’ artist who created the 0-9 system

Italy, general election 2018. What are the parties saying about the arts?

Manuel Solano, the artist who turned blindness into an opportunity

Collector Beatrice de Gelder and how neuroscience can be a game changer in art

Roberto Casamonti: ‘I am like a mermaid’ (a lesson for art collectors)

Herr Johannes Freiherr von Diergardt’s medieval jewels shine at the Neues

Barry McGee: ‘I still have that in me, but I’m older now’ (an interview)

What if traditional African art enters Medieval and Renaissance rooms?

BRAFA 2018 confirms the neo-eclectic trend

How Pablo Bronstein could help Turin to become the new Berlin

Orhan Pamuk: art novels and egoistic collectors (an interview)

Condo 2018: sometimes collaboration is stronger than competition

Sol LeWitt legacy comes to light at Fondazione Carriero

Evgeny Antufiev: artists are all tied to their habitats (an interview)

Erwin Redl and the Bill Gates version of John Cage

César, La retrospective and a market inconsistency

Wilfried Lentz: art fairs are not a condition for growth (an interview)

Classic African and Oceanic Art steadily growing at Sotheby’s

The last Caravaggio: heirs and new masters

Art secured loans: trick or treat?

Leonardo da Vinci: recent miracles of science and restoration

Laura Owens: a mid-career interview

Leopoldo de’ Medici art collection revives in Florence

Beatrice Marchi and a formal illusion over beauty

Judith Bernstein: Men have the organ, but they don’t own the image