In his paintings, Shaqúelle Whyte constructs imagined spaces charged with ambiguity, exploring the human condition through expressive brushwork, loosely rendered figures, and expansive compositions. His scenes hover between recognition and invention, creating worlds whose logic remains deliberately elusive.
The Head of the Federal Department of Home Affairs, Elisabeth Baume-Schneider, handed over a funerary mask from the 2nd century BC to the Egyptian Ambassador to Switzerland. The restitution underscores Switzerland's commitment to combating the illegal trafficking of cultural property.
The Metropolitan Museum of Art formally broke ground today on the Oscar L. Tang and H.M. Agnes Hsu-Tang Wing.
Over 22,000 tickets (22,033) have been booked for the National Gallery’s Renoir and Love exhibition opening 3 October 2026, beating previous box office records set by the Gallery’s 2024 blockbuster exhibition Van Gogh: Poets and Lovers (15,654 tickets booked over the same period).
A 16th-century Flemish panel painting depicting The Virgin and Child with Saint Anne and Saint Joseph has been officially transferred to the Fine Arts Museum of La Coruña, Spain, joining its permanent collection.
The Smithsonian’s National Air and Space Museum is welcoming a Lockheed F-117 Nighthawk stealth fighter, the world’s first true operational stealth combat aircraft, into the national collection.
The Mauritshuis and the Rijksmuseum have jointly acquired Hendrick Avercamp’s Colf Players on the Ice, painted c. 1625.
In a recent post on Truth Social, Trump outlined a vision that includes bringing an 11-foot George Washington statue to the National Museum of American History's Flag Hall for dedication on Constitution Day, September 17, 2026.
The Holy Father inaugurated the first chapter of the exhibition cycle “Catastrophe and Wonder”, titled “AQVA”.
The UK government has temporarily blocked ‘The Resurrection of the Good and the Bad’ by Stanley Spencer, a painting considered pivotal in the development of British Modernism, from being taken out of the UK permanently.
Sedrick Chisom’s practice explores painting as a space where history, mythology, speculative imagination and visual memory converge.
Maurizio Cattelan returns to Berlin twenty years after co-curating the 4th Berlin Biennale. His return raises a question that has become increasingly difficult for his work to evade: what remains of irony once transgression has been fully absorbed by the institutions and markets it once unsettled?