Robert Indiana
Marion Maneker June 10, 2025
As pop art experiences a slow-motion return to the popular imagination, Robert Indiana has been borne along with it. A show at Pace Gallery highlights the artist’s preoccupation with the American dream, far beyond his most famous work, ‘LOVE.’
Giancarlo Valle
Julie Brener Davich June 8, 2025
This week’s design auctions in New York are a mix of masterpieces by Lalanne, Giacometti, and Tiffany, and interesting works by up-and-coming designers, reflecting a desire for the unique among today’s discerning collectors.
Diane Arbus
Julie Brener Davich June 6, 2025
A huge new exhibition at the Park Avenue Armory, plus a gallery show in L.A., highlights the value of true photographic artistry in an era where everyone is wielding a camera, all the time.
Andrew Wolff
After ousting the founding Neuendorf family from Artnet, former Goldman partner Andrew Wolff talks about why he’s taking the digital art market platform and database company private, despite it having no profits, no growth, and a shrinking talent pool.


Hill-Stone Museum
Marion Maneker June 3, 2025
Alfred Pope’s Hill-Stead, teeming with works by Degas and Monet and Manet, is the Frick of New England: a privileged look into the vast wealth and groundbreaking taste of a 19th century robber baron.
Jenny Saville
Julie Brener Davich June 1, 2025
Jolly old England is getting a jolt this summer from five provocative shows featuring female artists whose works challenge conventional notions of beauty and put womanhood on full display in all its unidealized glory.
The Metropolitan Museum of Art
Marion Maneker May 30, 2025
When it opened more than 40 years ago, the Rockefeller Wing was a seismic event in the acceptance of Indigenous art’s place in the great museums of the world. Its reopening today marks a transformation in the tribal category—and an excuse to revisit an increasingly lucrative market.
jean paul engelen nick acquavella
As Engelen leaves Phillips and heads over to the Acquavella gallery in July, I checked in with him and Nick Acquavella about the century-old gallery, the rise of private dealers in the current market, and the “terrifying concept,” in Nick’s words, that “no one needs what we sell.”


Dasha Zhukova
Marion Maneker May 27, 2025
Dasha Zhukova, the collector, philanthropist, and former society It Girl, has redefined herself by reimagining the role that art can play in working-class residential life. After a successful development in Philly, she just erected a new building in Harlem—with more to come in Phoenix and Nashville.
Jaune Quick-to-See Smith, 2021
Julie Brener Davich May 25, 2025
Two new gallery shows in Manhattan exemplify the kind of boundary-pushing work that Native American artists started making after the Standing Rock protests in 2016. Institutions have embraced the movement, so why hasn’t the market?
Lorna Simpson
Marion Maneker May 23, 2025
A wave of high-profile, years-in-the-making exhibitions offers a national counterpoint to MAGA efforts to delegitimize inclusion. As the Met’s Lorna Simpson exhibition proves, showing underrepresented artists has always been less about an artist’s identity and more about an artist’s work.
Pablo Picasso
The May results were a disappointment after earlier signs of healing, with the market still shaking off the 2023 interest-rate hangover. Much of the grim news continues to concentrate at the top of the market.


Noah Horowitz
Marion Maneker May 20, 2025
Art Basel’s entrée into the Gulf, which will occur in February, takes advantage of the balmy climate, the walkable downtown, and, above all, the money sloshing around Qatar, a petrostate-cum-financial center.
George Wachter
Julie Brener Davich May 18, 2025
George Wachter, a Sotheby’s lifer who has long led its Old Masters department, is overseeing the category’s most valuable single-owner sale ever this week. We spoke about dirty old paintings, Victoria Beckham, and how the art market has (and hasn’t) changed over the past 50 years.
Marion Maneker May 16, 2025
The big spring sales have come to a close, leaving in their wake a distinctly unremarkable impression: Good works are selling, but there’s a limit to how high prices will go—and how far anyone is willing to stick their neck out, even for something they believe in.