Margherita Artoni

In 2003, writing in Artforum, David Rimanelli dismissed one of the founding claims of John Currin's early reputation as a "red herring": the notion that his brushwork constitutes a genuine revival of Old Master technique, arguing that technical finesse develops in step with the artist's content rather than existing for its own sake.

Michaël Borremans paints at the moment when the image remains persuasive while its authority becomes uncertain.

With Back Again, at White Cube Bermondsey, Georg Baselitz returns once more to his own history.

The exhibition by Lisa Yuskavage at David Zwirner unfolds within a stabilized field of painterly recognition. New collages, chromatic systems, and recursive studio compositions mark a practice that has shifted from aesthetic instability toward institutional consolidation. The work now operates at the center of a system that once derived its force from friction.

Contemporary pictorial practice no longer operates within the logic of representation, but within systems of circulation in which visibility precedes experience.

Contemporary artistic experience is defined less by the production of form than by the regulation of appearance. Art no longer unfolds within stable frameworks of recognition, but within environments where visibility is continuously produced, filtered, and redistributed.