At Thursday’s invitation-only VIP Preview, The Armory Show opened its 2026 edition at the Javits Center with more than 240 exhibitors. A fair of that scale rarely lends itself to a single reading, but this year had a discernible thread: the Caribbean and its diasporas extend through the curated Focus and Platform sections, gallery presentations, and performance, while expanded Solo and Presents sections make greater room for concentrated presentations and younger galleries.
There are few buildings in New York as closely tied to the history of 20th-century art as The Breuer. Opened in 1966 as the Whitney Museum of American Art, Marcel Breuer’s landmark on Madison Avenue later housed the Met Breuer and Frick Madison before becoming Sotheby’s new headquarters. This year, for the first time, the Independent 20th Century art fair takes over the building — an especially fitting move as it marks its 60th anniversary.
In the Ritz Theater Stagehouse, a soaring, brick-walled space in Newburgh, NY that Safe Harbors of the Hudson only recently reopened to the public after decades of inaccessibility since the 1970s, Millicent Young suspended a room-sized cube built entirely from white horsehair. Titled Holding Light Sutra, the installation was organized by STRONGROOM in collaboration with Safe Harbors’ Ann Street Gallery, and transformed the raw, long-shuttered stagehouse into an immersive meditation on displacement, fragmentation, and transformation.
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Installation view, Ortuzar, Art Basel 2026. Photo: Chris Grunder
Now in its flagship Basel edition, Art Basel closes out today after a week that found galleries leaning hard into intergenerational pairings, placing historic figures in conversation with the artists carrying their concerns forward. Material experimentation, archival rediscovery, and a handful of major institutional tie-ins defined many of the fair’s standout booths.
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Carlo Bugatti, Chair, 1900; Allen Jones, Red Refrigerator, 2018.
At Sceners Gallery, Paris, Forms and Temptations, presented with Almine Rech, shows Allen Jones alongside an eclectic group of early twentieth-century design pioneers: Jacques-Émile Ruhlmann, Carlo Bugatti, Jean Dunand, Koloman Moser, and Pierre Legrain. Together, the exhibition presents how objects imagine life after transformation. On view from April 12th to June 13th, 2026.
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Kelly Sinnapah Mary, The Sacred Garden (2026), James Cohan Gallery
The 15th edition of Frieze New York opened last week at The Shed in New York City. In a fair synonymous with variety, this edition stood out with a particularly diverse and thoughtfully curated array of artists whose works championed the heritage and backgrounds of their creators. The variety of artistic voices was complemented by a thematic harmony amongst many of the works present at the fair – nature, whether as a subject, inspiration, or material source informed a large number of pieces, forming a garden-like backdrop for poignant assertions and discussions of identity.
White Cube presents Shao Fan (Yu Han) “Refrain”, on view at the Mason’s Yard gallery from 22 May – 27 June 2026. As the first UK solo exhibition of the artist, the show presents his recent works: rabbits, mushrooms, cabbages and other mythological forms emerge through thousands upon thousands of hair-like strokes. The muses settle slowly; time is unavoidable here.
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Tate Modern’s Tracey Emin: A Second Life is on view until the 31st of August 2026. The exhibition traces 40 years of practise, showing canonical works alongside pieces never exhibited before. Through textiles, neons, paintings, video and installations, Emin turns her experience into objects.
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Rose Wylie, Pink Skater (Will I Win, Will I Win) 2015
Rose Wylie: The Picture Comes First is on view at the Royal Academy of Arts from 28 February to 19 April 2026, bringing together over 90 works. The first to spotlight a British female artist across all main galleries. Her giant canvases make no concessions.
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Élise Peroi’s textile works at Carvalho Gallery’s booth (c/o Carvalho)
The seventh edition of Frieze LA came to a close last week, after a packed opening that brought over 30,000 people to the fair over the course of four days. The high attendance was matched by a strong sales record that infused a much-needed sense of optimism into an art market rocked by turbulence and uncertainty in 2025. Optimism prevailed not only from sales, but from the widespread presence and celebration of artists working from or inspired by California – their participation in the wake of the 2025 wildfires that devastated Los Angeles was a testament to the endurance of a prodigious artistic community that remains as strong, supportive, and varied as ever.