Artforum

Virginia Anderson. Photo: Anne Stuzin Photography. The National Gallery of Art has named Virginia Anderson the Christiane Ellis Valone Senior Curator of American Art and head of the art of the Americas, starting in November. Anderson is currently the senior curator of American art and department head of American painting and sculpture and decorative arts at the Baltimore Museum of Art (BMA). During her tenure at the BMA, Anderson led a reinstallation of the institution’s American collection.

The Bronner Family from left to right: Anat, Lara, Philip and Gil Bronner. Photo: Susanne Diesner. Three generations of the Düsseldorf-based Bronner family have been recognized with the 2026 Art Cologne Prize, which recognizes the commitment to collecting, promoting, and making art accessible to the public. The winner receives €10,000 ($11,300) and is selected by the Koelnmesse and the Bundesverband Deutscher Galerien und Kunsthändler (BVDG), an association of German galleries and art dealers.

Promotional signage for the Bayeux Tapestry at the British Museum in London. Photo: Andrea Domeniconi/SOPA Images/LightRocket via Getty Images. Dr. Yusuf Ali Osman, a registered blind man, has filed suit against the British Museum, claiming the London institution failed to comply with the Equality Act by not providing audio-described guides at its exhibition of the famed Bayeux Tapestry.

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“Forti’s seeming disappearances might have been a function of her being everywhere” Simone Forti, See-Saw, 1960. Performance view, L’Attico, Rome, June 1968. From “Dance Constructions,” 1960–61. Simone Forti and Steve Paxton. Photo: Claudio Abate. ONE OF THE MORE POPULAR NARRATIVES about Simone Forti is that she “disappeared” or was “invisible” at various points in her life and creative career.

Store and/or access information on a device Cookies, device or similar online identifiers (e.g. login-based identifiers, randomly assigned identifiers, network based identifiers) together with other information (e.g. browser type and information, language, screen size, supported technologies etc.) can be stored or read on your device to recognise it each time it connects to an app or to a website, for one or several of the purposes presented here.

Artforum editors have a three martini lunch Three Martini Lunch, TY Bar, Four Seasons Hotel, New York, August 21, 2026. Photo: Sam Marion Wilken. “The ‘Three Martini Lunch’ flight pays homage to the indulgent business lunches of the mid-twentieth century, famously associated with Madison Avenue ad executives who believed their creativity flourished after a few midday martinis.

On the queasy merger of art theater and the experience economy Georgica Pettus, Truck, 2026. Performance views, MoMA PS1, Queens, NY, June 27, 2026. Photos: Maria Baranova. THESE DAYS EVERYONE’S TALKING ABOUT how theater is “in” or “back,” and it feels like every other weekend another gallery, project space, museum, or bar is putting on a play. The concerns of these productions are varied, but they are largely quick and dirty, cool and young, New York and LA.

The director of the Simone Forti Art Trust remembers the choreographer Simone Forti, Zuma News, 2014, HD video, color, sound, 13 minutes. SIMONE FORTI WAS GENEROUS WITH HER VISION. It emanated out of her, suffusing her movement and dance, her writing and drawing, her conversation and deep wit. This made her something more than a visionary—more inclusive, more interesting, more fun. Her work could evoke compassion, violence, and poetry all at once.

“Lee may be more attuned to how humans might be like stones” Lee Ufan, Relatum—Dialogue, 2010, two steel plates, two natural stones. Installation view (foreground), Lee Ufan Museum, Naoshima, Japan. Photo: Tadasu Yamamoto. © Lee Ufan/Artists Rights Society (ARS), New York/ADAGP, Paris. “BUT I’VE GOTTA USE words when I talk to you.” Even T. S. Eliot, handy as he was with words, knew they could be a problem. I feel particularly suspicious of words when I try to characterize the work of Lee Ufan.