Ahead of the global premiere of William Kentridge’s twelfth Drawings for Projection film at Goodman Gallery London, we look at why charcoal, erasure and revision remain central to the artist — and what collectors should understand across drawings, prints, film and sculpture.

Frieze Sculpture 2026 turns The Regent’s Park into a live test of scale, material, siting and weather. For collectors, the strongest lesson is not which work 'wins' — but what outdoor presentation reveals that the white cube can hide.

Lucio Fontana’s slash became one of post-war art’s most recognisable gestures. A major Hong Kong exhibition restores the holes, shaped canvases, bronzes and spatial thinking that make one cut very different from another.

Following Clive Davis’s death in June 2026, Christie’s dispersal of his collection offers more than a celebrity-provenance story. It reveals how one of music’s great talent-spotters lived with post-war and contemporary art — and how friendship, intuition and domestic space shaped what he bought.

Teresa Margolles’s first large-scale US museum exhibition turns rubble, residue and forensic thinking into a radical form of memorial. For collectors, it is also a masterclass in why context and conservation can be part of the medium.

Wangari Mathenge’s first solo exhibition with Lévy Gorvy Dayan expands her Re-membering series into sculpture, turning books, objects and domestic space into a layered inquiry into Kenyan cultural memory.