
Now available
Gagosian Quarterly Summer 2026
The Summer 2026 issue of Gagosian Quarterly is now available, featuring Ellen Gallagher’s Fast-Fish and Loose-Fish (2026) on the cover.

The Summer 2026 issue of Gagosian Quarterly is now available, featuring Ellen Gallagher’s Fast-Fish and Loose-Fish (2026) on the cover.

In this video, Jenny Saville sits down inside her first major exhibition in Venice to discuss how the great Venetian artists of the past and the city’s heritage influence her work. The show brings together more than thirty canvases and works on paper from the 1990s to the present, tracing the development of her practice, which is deeply rooted in the history of painting.

Francis Bacon lived and worked in Paris for a decade starting in the mid-1970s. The city and the art he encountered there provided a profound backdrop for his austere late style, which often brings together smooth, colorful backgrounds, spare architectural signifiers, and sculptural human forms. Here, three striking paintings from that period are considered by Sebastian Smee.

Janne Sirén considers Anselm Kiefer’s new paintings, the subject of an exhibition at Gagosian, New York, entitled Seal My Ears Shut and I Shall Hear You Still.

On April 16, the Institute of Contemporary Art, Boston, opened the first midcareer survey of Derrick Adams’s multidisciplinary practice. Covering over twenty years of work, the exhibition, titled View Master, brings together the artist’s painting, sculpture, collage, performance, and video, as well as a vibrant new commission created for the museum’s façade. Ahead of the opening, Adams met with Tessa Bachi Haas, cocurator of the survey, to discuss his formative experiences with television, the impact of his work in arts education on his practice, and the importance of taking a more complex, more joyful, and more expansive approach to Black American life and culture.

A conversation between Theaster Gates and Jessica Bell Brown, with an introduction by Sydney Stutterheim.

Adam D. Weinberg has been working with Giuseppe Penone on an exhibition of the artist’s new sculptures, The Reflection of Bronze, that opens at Gagosian, New York, on April 22. The works explore the character and possibilities of bronze. Here, Weinberg considers Penone’s enduring engagement with the alloy and addresses the conceptual underpinnings of the exhibition’s three-room structure.

On March 28, a major exhibition of Jenny Saville’s work opened at Ca’ Pesaro–Galleria Internazionale d’Arte Moderna in Venice, bringing together nearly thirty paintings from the 1990s to the present. The exhibition is curated by Elisabetta Barisoni, head of the museums division at Venice’s Ca’ Pesaro, Museo Fortuny, and head of MUVE in Mestre. Saville’s monumental canvases are set in dialogue with the great Venetian artists of the past, creating a unique encounter between contemporary painting and the city’s artistic heritage. Here, the artist speaks with Stefania Ventra, professor with Ca’ Foscari University of Venice, about her early trips to Venice, the radicality of Titian’s painting, and depicting emotional truth.

Jeff Koons tells Alison McDonald about his appreciation for the pioneering artist and thinker Marcel Duchamp.

The Loewe Foundation Craft Prize celebrates its ninth edition with an exhibition at the National Gallery Singapore.

Peering into the dying days of the Republic of Venice, Ben Street finds a pulse in the tragicomic frescoes of Giovanni Domenico Tiepolo, and particularly in Tiepolo’s commedia dell’arte character Pulcinella, that continues to beat in the works of such artists as Paul Cezanne, Philip Guston, and Nicole Eisenman.
Check your answers to the puzzle in the print issue.
Public Installation
May 4–September 24, 2026
Palazzetto dello sport Giobatta Gianquinto, Castello, Venice
Heavy is the head that wears the crown (2026) is a monumental portrait by Derrick Adams of Koyo Kouoh (1967–2025), curator of the 61st International Art Exhibition of La Biennale di Venezia. In a project curated by Francesco Bonami, Adams’s new collage is displayed as a banner installed close to the Arsenale, on the façade of Palazzetto dello sport Giobatta Gianquinto, facing the Rio della Tana. The popular idiom that forms its title refers to the immense pressure faced by those in positions of high responsibility. While acknowledging that power comes with heavy burdens, Adams’s work emphasizes the feelings of accomplishment and celebration when things turn out even better than imagined. According to Adams, “The installation pays homage to Koyo Kouoh’s legacy, honoring the impact she had in championing Black voices and visions.”

Derrick Adams, Heavy is the head that wears the crown, 2026, installation view, Palazzetto dello sport Giobatta Gianquinto, Castello, Venice © Derrick Adams Studio. Photo: Andrea Avezzù
Derrick Adams, Heavy is the head that wears the crown, 2026, installation view, Palazzetto dello sport Giobatta Gianquinto, Castello, Venice © Derrick Adams Studio. Photo: Andrea Avezzù