ARTICLES

At Princeton, eleven paintings from 1984 reveal a Basquiat who copied, screened and revised his own images with exacting intent—complicating the myth of improvisational genius.

The Turner Prize can be most interesting when its four finalists refuse to represent a single trend. At Middlesbrough Institute of Modern Art, the 2026 exhibition brings together Simeon Barclay, Kira Freije, Marguerite Humeau and Tanoa Sasraku. Their presentations differ sharply in scale, material and temperament, yet all ask how contemporary life becomes embedded in the things we make, transport, inhabit or consume. The exhibition opened on 26 September and continues until 29 March 2027; the winner is due to be announced on 10 December 2026.

Kelly Behun’s West Chelsea apartment for former US ambassador Randi Charno Levine shows how a serious contemporary collection can grow from relationships, patronage and a new Joana Vasconcelos commission.

At Pinacoteca Agnelli, Chris Ofili places new paintings beside Manet’s portrait of Laure, restoring a named sitter to the centre of a story art history kept at the edge.

The new Dasha Shenkman Focus Fund has placed three Okiki Akinfe works into Abbot Hall. Its real significance is a model of private patronage that creates public institutional value early.

At Palazzo Venier dei Leoni in Venice, Peggy Guggenheim made modern art part of daily life—and left a model for the home as a living collection.