“Mary Magdalene in Ecstasy” will be on display at the Kiran Nadar Museum of Art in Delhi until 18 May.

The British-Nigerian artist explores colonialism and connection in his first major solo exhibition in Africa. Plus, a grime MC goes oyster farming.

Holy balls of wool! From pointless paintings to emotionless snapshots, the once-controversial award tiptoes too earnestly across the minefield of today’s culture wars.

Ocean-inspired artworks created using kelp-based pigment will be sold to raise funds for conservation.

During the latest in Howard Burton’s Masterpiece series, the art historian turns his low-tech but scholarly attention to Raphael’s interior decoration in the Vatican palace

Molecule of interest stages an imagined inner world in the gap between sensation and perception.

As an Artist in Residence, a role created and supported by Passerelle and Documents d’artistes Bretagne, Marie Boyer (1997) is exhibiting a series of new works she has produced at Passerelle.

Jayne County is an artist whose biography is so substantial, it threatens to speak over her actual work as a performer, musician, and painter.

An owner of a pawn shop in Los Angeles was recently indicted for allegedly conspiring to sell a stolen Andy Warhol trial proof print of Vladimir Lenin and then lying about it to the FBI.

In June 2025, ARoS will present Lost Property, a major new video installation by London-based artist Jenkin Van Zyl (b. 1993, UK).

Launching this week (this Friday *early access) Remi Rough and Soi Books are releasing a collectible that aims to blur the line between book and artwork.

At Fondazione Prada, Milan, a group show studies the variations and chance connections that form our worldview.

The Boston Public Art Triennial will display dozens of pieces downtown and in neighborhoods across the city, reflecting much-changed appetites for public art.

In her treatise on UK drill, the underground musical sub-genre that is believed to have originated in the neighborhoods and council estates of South London (specifically Brixton) in the early-to-mid 2010s, writer and artist Adèle Oliver pinpoints the cause of its vilification.

It’s interesting that two major institutions – Ghent’s S.M.A.K. in Europe and MCA Chicago in the US – recently planned exhibitions that took the supposed death of painting as a starting premise.