We are back in Venice for the latest edition of the biggest biennial in the world of art. The 60th Venice Biennale comprises an international exhibition featuring more than 300 artists, dozens of national pavilions in the Giardini?the gardens at the eastern end of the city?and the Arsenale?the historic shipyards of the Venetian Republic?and host of official collateral exhibitions and other shows and interventions across Venice. The Art Newspaper?s contemporary art correspondent, Louisa Buck, editor-at-large Jane Morris and host Ben Luke review the international exhibition, Foreigners Everywhere/Stranieri Ovunque, curated by the Brazilian artistic director, Adriano Pedrosa. We talk to artists and curators behind five national pavilions?Jeffrey Gibson in the US pavilion, John Akomfrah in the British pavilion, Romuald Hazoumè in the Benin pavilion, Gustavo Caboco Wapichana, the curator of the Hãhãwpuá or Brazilian pavilion, and Valeria Montii Colque in the Chilean pavilion?about their presentations. And we like to end our Venice specials by responding to an example of the historic work that made la Serenissima one of the world?s great centres for art. So for this episode?s Work of the Week, Ben Luke gained exclusive access to one of the most significant paintings in Venetian history: the Assunta or Assumption of the Virgin made between 1516 and 1518 by Titian. Since the last Biennale in 2022, the Assunta has been unveiled after a four-year conservation project, funded by the charity Save Venice. We spoke to the man who restored this incomparable masterpiece, Giulio Bono, right beneath Titian?s painting.

The Venice Biennale, 20 April-24 November. Listen to the interview with Adriano Pedrosa in the episode of this podcast from 2 February.

The website that Giulio Bono mentions, which will present the findings of the conservation of Titian?s Assunta in detail, will go online later this year.

Save Venice, savevenice.org.

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This week: after 80 years in business, Marlborough Gallery, one of the most historic commercial galleries in London, New York and beyond, has announced that it is closing. Host Ben Luke talks to Anny Shaw, a contributing editor at The Art Newspaper, about what happened and what, if anything, it tells us about the market. The New Mexico-based sculptor Rose B. Simpson revealed newly commissioned public art works in Madison Square Park and Inwood Hill Park in New York on Wednesday, called Seed. The Art Newspaper?s editor, Americas, Ben Sutton went to meet her. And this episode?s Work of the Week is the final painting ever made by Caravaggio: The Martyrdom of Saint Ursula, made in 1610. The painting is travelling to London for an exhibition opening at the National Gallery next week, called The Last Caravaggio. Francesca Whitlum-Cooper, the gallery?s acting curator of later Italian, Spanish and 17th-century French Paintings and the curator of the exhibition, tells us more.

marlborougharchive.com.

Rose B. Simpson: Seed, Madison Square Park and Inwood Hill Park, New York, until 22 September. The Whitney Biennial: Even Better than the Real Thing, Whitney Museum of American Art, New York, until 11 August. Rose B. Simpson: Strata, Cleveland Museum of Art, Ohio, US, 14 July-13 April 2025; Rose B. Simpson: LEXICON, De Young, San Francisco, US, 16 November-29 June 2025.

The Last Caravaggio, National Gallery, London, 18 April-21 July

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The convicted art fraudster Inigo Philbrick is out of prison and possibly seeking a return to art dealing. How is that possible? Tim Schneider, The Art Newspaper?s acting art market editor, tells us about Philbrick?s story, why the art trade is a natural habitat for fraud, and why a criminal past need not lead to art-world banishment. In the wake of the first Art Basel Hong Kong art fair to take place after the newly instated Article 23 security law, our associate digital editor Alexander Morrison talks to our correspondent in China, Lisa Movius, about the law?s impact on artists, museums and others in the art world now and in the future. And this episode?s Work of the Week is a sword associated with Ranjit Singh, the Maharaja who is the subject of a major exhibition opening next week at the Wallace Collection in London. Davinder Toor, the co-curator of the show, tells us more.

Ranjit Singh: Sikh, Warrior, King, Wallace Collection, London, 10 April-20 October

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Richard Serra, one of the greatest artists of the past 50 years, a linchpin of the post-minimalist scene in late 1960s and early 1970s New York and later the creator of vast steel ellipses and spirals, died on Tuesday 26 March. We mark the passing of this titan of sculpture with Donna De Salvo, the senior adjunct curator of special projects at the Dia Foundation, whose Dia Beacon space has several major works by Serra on permanent view. There are a host of exhibitions focusing on expressionist art in the US and Europe in 2024 and in this episode we focus on two of them. The first ever Käthe Kollwitz retrospective in New York is taking place at the Museum of Modern Art or MoMA, while other shows dedicated to her are taking place in Frankfurt and Stockholm. We speak to Starr Figura, the curator of MoMA?s show, which opens this weekend, about Kollwitz?s extraordinary work and life. Then, we talk to Natalia Sidlina, the curator of Expressionists: Kandinsky, Münter and the Blue Rider, a major survey opening at Tate Modern next month of the German Expressionist group, which looks anew at the deep friendships that formed the basis of the group, their international outlook and their multidisciplinary output.

Richard Serra?s work is on long-term view across five galleries at Dia Beacon, New York, US.

Käthe Kollwitz, Museum of Modern Art, New York, 31 March-20 July; Städel Museum, Frankfurt, until 9 June; SMK ? National Gallery of Denmark, Copenhagen, 7 November-25 February 2025.

Expressionists: Kandinsky, Münter and the Blue Rider, Tate Modern, London, 25 April-20 October 2024; Gabriele Münter: the Great Expressionist Woman Painter, Thyssen Bornemisza, Madrid, 12 November-9 February 2025.

Further expressionist exhibitions in 2024:

The Anxious Eye: German Expressionism and Its Legacy, National Gallery of Art, Washington DC, until 27 May; Munch to Kirchner: The Heins Collection of Modern and Expressionist Art, Dallas Museum of Art, Texas, US, until 5 January 2025; Munch and Kirchner: Anxiety and Expression, Yale University Art Gallery, New Haven, Connecticut, US, until 23 June; Erich Heckel, Museum of Fine Arts Ghent, Belgium, 12 October-25 January 2025.

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This week: the Whitney Biennial reviewed. Host Ben Luke discusses the show with Ben Sutton, The Art Newspaper?s editor, Americas, and the critic Annabel Keenan. Our annual survey of visitor numbers at museums is published in the next print edition of The Art Newspaper and Lee Cheshire, the co-editor of the report, joins us to discuss the findings. And this episode?s Work of the Week is Pieter Bruegel the Elder?s drawing The Temptation of St Anthony (around 1556). It features in the exhibition Bruegel to Rubens: Great Flemish Drawings, which opens this weekend at the Ashmolean Museum in Oxford, UK. An Van Camp, the curator of the show, discusses this remarkable study.

The Whitney Biennial: Even Better than the Real Thing, Whitney Museum of American Art, New York, until 11 August.

Bruegel to Rubens: Great Flemish Drawings, Ashmolean Museum, Oxford, UK, 23 March-23 June.

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Four years after Tate Britain closed its restaurant because Rex Whistler?s murals on its walls contained racist imagery, it has unveiled the work it commissioned in response to Whistler?s painting by the artist Keith Piper. We talk to Piper about the work. The annual Art Basel & UBS Art Market Report was published on Wednesday and, as ever, reviews the status of the international art market. We speak to its author, the cultural economist and founder of the company Arts Economics, Clare McAndrew. And this episode?s Work of the Week is With Verticals, one of Anni Albers?s pictorial weavings, made in 1946. It is a key piece in the exhibition Woven Histories: Textiles and Modern Abstraction, which arrived this week at the National Gallery of Art in Washington. We discuss the weaving with the show?s curator, Lynne Cooke.

Keith Piper: Viva Voce, Tate Britain, until at least 2025.

Art Basel and UBS Art Market Report 2024, theartmarket.artbasel.com.

Woven Histories: Textiles and Modern Abstraction, National Gallery of Art, Washington DC, 17 March-28 July; National Gallery of Canada, Ottawa, 25 October-2 March 2025; The Museum of Modern Art, New York, 20 April 2025-13 September 2025.

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To coincide with International Women?s Day on 8 March, the South London Gallery is opening the exhibition Acts of Resistance: Photography, Feminisms and the Art of Protest. Activism and photography have long gone hand in hand but this collaborative exhibition, organised with the Victoria and Albert Museum (V&A), attempts to capture a new chapter in this distinguished history, with a particular focus on feminism across the world. We talk to Sarah Allen, the head of programme at the South London Gallery, and Fiona Rogers, the V&A?s Parasol Foundation curator of women in photography, about the show. The financier, philanthropist, collector and leader of cultural organisations Jacob Rothschild died last week at the age of 87. We talk to Anna Somers Cocks, the founder of The Art Newspaper, who interviewed Lord Rothschild on numerous occasions, about his impact on the visual arts and heritage. And this episode?s Work of the Week is Adelphi, made in 1967 by Robert Ryman. It is one of around 50 pieces by Ryman in the exhibition The Act of Looking, which opened this week at the Musée de l?Orangerie in Paris. Guillaume Fabius, the co-curator of the show, joins us to discuss the painting.

Acts of Resistance: Photography, Feminisms and the Art of Protest, South London Gallery, London, 8 March-9 June.

Robert Ryman: The Act of Looking, Musée de l?Orangerie, Paris, until 1 July.

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As Frieze Los Angeles opens its fifth iteration, The Art Newspaper?s associate digital editor, Alexander Morrison, talks to our correspondent in LA, Jori Finkel about the changing landscape of the city?s art scene. In London, the Royal Academy has finally opened an exhibition dedicated to the 18th-century painter Angelica Kauffman, a show that was threatened with cancellation as Covid ravaged the plans and finances of museums. We take a tour of the exhibition with its co-curator, Annette Wickham. And this episode?s Work of the Week is The Space Between Trees (2019), the late Canadian-Chinese painter Matthew Wong?s direct response to a lost masterpiece by Vincent van Gogh, The Painter on the Road to Tarascon (1888). The connection between the two artists is explored in a new exhibition at the Van Gogh Museum in Amsterdam, Painting as a Last Resort. Its curator, Joost van der Hoeven, tells us more.

Frieze Los Angeles, until Sunday, 3 March, Santa Monica Airport, Los Angeles.

Angelica Kauffman, Royal Academy of Arts, London, 1 March - 30 June.

Matthew Wong | Vincent van Gogh: Painting as a Last Resort, Van Gogh Museum, Amsterdam, 1 March-1 September.

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The exhibition The Time Is Always Now, featuring 22 artists from the African diaspora whose work takes the Black figure as its starting point, is now open at the National Portrait Gallery in London, and will tour to Philadelphia later in the year. We explore the show with its curator Ekow Eshun. 2024 marks the centenary of the the first Surrealist manifesto by André Breton, and the first of a series of exhibitions focusing on the movement this year opened at the Royal Museums of Fine Arts of Belgium in Brussels this week, before travelling to the Centre Pompidou later in the year and Hamburg, Madrid and Philadelphia (again) next year. But what did that first manifesto contain and how did it influence the course of the movement? Alyce Mahon, a Surrealism specialist and professor of Modern and Contemporary Art at the University of Cambridge, tells us more. And this episode?s Work of the Week is Eagle Dance (1934) by Tonita Peña, one of the leading Native American Pueblo artists of the 20th century. It features in a new exhibition, Native American Art of the 20th Century: The William P. Healey Collection, at the Saint Louis Art Museum in the US. Alexander Brier Marr, the associate curator of Native American art at the museum, joins us to discuss the painting.

The Time Is Always Now: Artists Reframe the Black Figure, National Portrait Gallery, London, 22 February-19 May; The Box, Plymouth, UK, 29 June-29 September; Philadelphia Museum of Art, 9 November-9 February 2025.

Alyce Mahon is the co-editor of a new International Journal of Surrealism, published by Minnesota University Press; Dorothea Tanning: A Surrealist World, by Alyce Mahon, Yale University Press, published in September. IMAGINE! 100 Years of International Surrealism, Royal Museums of Fine Arts of Belgium, Brussels, 21 February-21 July; Centre Pompidou, Paris, 4 September-13 January 2025; Fundación MAPFRE, Madrid, 4 February?11 May 2025; Hamburger Kunsthalle, Hamburg, Germany, 12 June 2025-12 October 2025; Philadelphia Museum of Art, US, autumn 2025?spring 2026.

Native American Art of the 20th Century: The William P. Healey Collection, Saint Louis Art Museum, US, until 14 July.

Last chance: buy The Art Newspaper?s magazine The Year Ahead 2024, an authoritative guide to the world?s must-see art exhibitions and museum openings at theartnewspaper.com until 1 March for just £9.99 or $13.69.

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A vast survey covering seven decades of art by Yoko Ono has just opened at Tate Modern, and we take a tour of the show with Juliet Bingham, its curator. The collection from Elton John?s home in Atlanta in the US is up for auction at Christie?s and ahead of its big Opening Night auction next week, The Art Newspaper?s associate digital editor Alexander Morrison spoke to Tash Perrin, Christie?s deputy chairman in the Americas, about the works and John?s particular taste in art and objects. And this episode?s Work of the Week is a reconstructed and reimagined statue of the fourth-century Roman emperor, Constantine the Great. The colossus has been remade from the 10 known fragments of the original sculpture by the Madrid-based Factum Foundation, and was installed last week in a garden in Rome?s Capitoline Museums. Adam Lowe, the founder of the Factum Foundation, tells me more.

Yoko Ono: Music of the Mind, Tate Modern, until 1 September; K20, Kunstsammlung Nordrhein Westfalen, Düsseldorf, Kunstsammlung Nordrhein Westfalen, 28 September-16 March 2025

The Collection of Sir Elton John: Goodbye Peachtree Road auctions begin at Christie?s New York on 21 February; online sales are now open.

The Colossus of Constantine, Capitoline Museums, Rome, until at least the end of 2025.

Get The Art Newspaper?s magazine The Year Ahead 2024, an authoritative guide to the world?s must-see art exhibitions and museum openings?many of which were discussed on our podcast from 12 January?at theartnewspaper.com for just £9.99 or $13.69.

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As she stages a non-stop reading of Hannah Arendt?s The Origins of Totalitarianism for five days at the Hamburger Bahnhof in Berlin, Tania Bruguera reflects on growing concerns about the censorship of artists in Germany in relation to the Israel-Hamas war. She also discusses the comments made by Ai Weiwei this week that censorship in the West was now ?exactly the same? as in Mao?s China. The Courtauld in London this week opened an exhibition of the monumental charcoal drawings made by Frank Auerbach in the 1950s and early 1960s, and we take a tour of the exhibition with the show?s curator Barnaby Wright. And this episode?s Work of the Week is Mihrdukht Aims Her Arrow at the Ring, a folio from the Hamzan?ma (Story of Hamza). Made in India in around 1570, during the Mughal period, it is one of the works acquired by the British painter Howard Hodgkin in a lifetime of collecting Indian art. The collection is the subject of an exhibition at the Metropolitan Museum of Art in New York, which opened this week. Navina Najat Haidar, one of the co-curators of the show, tells us more.

Tania Bruguera: Where Your Ideas Become Civic Actions (100 Hours Reading ?The Origins of Totalitarianism?), Hamburger Bahnhof ? Nationalgalerie der Gegenwart, Berlin, until 11pm on Sunday, 11 February. You can hear a discussion about Hannah Arendt?s legacy and her influence on artists in our episode from 15 January 2021.

Frank Auerbach: The Charcoal Heads, The Courtauld, London, until 27 May.

Indian Skies: The Howard Hodgkin Collection of Indian Court Painting, Metropolitan Museum of Art, New York, until 9 June. And you can hear my interview with Antony Peattie, Hodgkin?s partner for the last few decades of his life, about the artist?s final paintings, on the episode from 25 May 2018.

Offer: you can still buy The Art Newspaper?s magazine The Year Ahead 2024, an authoritative guide to the world?s must-see art exhibitions and museum openings?many of which were discussed on our podcast from 12 January. Get a print and digital subscription to The Art Newspaper at theartnewspaper.com before the 15th of this month to receive a copy of The Year Ahead with your next printed issue. Or you can buy the magazine on its own on the website for just £9.99 or $13.69.

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This week: Adriano Pedrosa, the artistic director of the 60th Venice Biennale, on his exhibition, Foreigners Everywhere. As he announces the themes, concepts and the list of artists in the show, we speak to the Brazilian curator about his plans. Hugely popular immersive art experiences are popping up across the world from London to Las Vegas, Tokyo and Abu Dhabi, and we discuss this phenomenon and its implications for museums and galleries with Chris Michaels?an art and technology consultant and former director of digital, communications and technology at the National Gallery, London. And this episode?s Work of the Week is Barbara Kruger?s Untitled (Forever), an installation first made in 2017 and now on view in the Serpentine South gallery in London, where Kruger?s career survey arrived this week after spells in Chicago, Los Angeles and New York. Hans Ulrich Obrist, the Serpentine Galleries? artistic director, explores the installation.

The 60th Venice Biennale: Foreigners Everywhere, Giardini and Arsenale, Venice, Italy, 20 April-24 November.

Barbara Kruger: Thinking of You. I Mean Me. I Mean You, Serpentine South, London, until 17 March.

Offer: you can still buy The Art Newspaper?s magazine The Year Ahead 2024, an authoritative guide to the world?s must-see art exhibitions and museum openings?many of which were discussed on our podcast from 12 January. Get a print and digital subscription to The Art Newspaper at theartnewspaper.com before the 15th of this month to receive a copy of The Year Ahead with your next printed issue. Or you can buy the magazine on its own on the website for just £9.99 or $13.69.

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This week: masters week in New York?can the market for historic works be revived? Scott Reyburn, a market reporter for The Art Newspaper, has for some time been exploring the decline in the trade for Old Master paintings. He looks ahead to the auctions in Masters Week in New York, which begin this weekend. In India on Monday, the prime minister Narendra Modi inaugurated a vast temple to the Hindu god Ram in the city of Ayodhya. The temple replaces a 16th-Century mosque that was destroyed by Hindu mobs in 1992, an event that provoked riots in which nearly 2,000 people died, most of them Muslim people. Our deputy art market editor and regular correspondent in India, Kabir Jhala, is in Mumbai, and joins us to discuss this pivotal issue in modern Indian history, what it means ahead of India?s general election in the spring, and whether it is affecting the Indian art market. And this episode?s Work of the Week is Madame déménage (1867), a political cartoon by the French artist Honoré Daumier that was deemed so provocative in its time that it was not published. The lithograph is part of an exhibition at the Städel Museum in Frankfurt that features 120 Daumier works from the Hellwig Collection. Hans-Jürgen Hellwig, the who is donating the collection to the Städel, joins us to discuss this incendiary image.

Honoré Daumier: The Hellwig Collection, Städel Museum, Frankfurt, Germany, until 12 May.

Offer: to get The Art Newspaper?s magazine The Year Ahead 2024, an authoritative guide to the world?s must-see art exhibitions and museum openings, get a print and digital subscription to The Art Newspaper at theartnewspaper.com before 15 February. Your copy of The Year Ahead will arrive with your next printed issue. You can buy the magazine on its own on the website for just £9.99 or $13.69.

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This week: the astonishing civil trial in Manhattan between a Russian oligarch and Sotheby?s. The Art Newspaper?s acting art market editor, Tim Schneider, witnessed the Russian billionaire Dmitry Rybolovlev?s testimony in the trial in New York in which he accuses Sotheby?s of aiding the Swiss art dealer Yves Bouvier in an alleged fraud. It relates to the sale of major works of art, including the controversial Leonardo painting Salvator Mundi. Tim joins us to tell us about this extraordinary case. The second edition of Art SG art fair in Singapore has opened?with a 29% fall in the number of galleries. It takes place amid a wider festival, Singapore Art Week, and Lisa Movius, our reporter in Asia, tells us about the mood in Singapore and the wider art scene beyond Art SG. She also reflects on last weekend?s election in Taiwan. And our first Work of the Week of 2024 is the South African artist Zanele Muholi?s photograph ZaVa III, Paris (2013). The image is one of more than 100 works in Zanele Muholi: Eye Me, an exhibition that has just opened at the San Francisco Museum of Modern Art. Shana Lopes, one of the curators of the exhibition, tells us more.

Art SG, until Sunday; Singapore Art Week until 28 January, artweek.sg

Zanele Muholi: Eye Me, San Francisco Museum of Modern Art, US, until 11 August.

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In the first episode of 2024 we look ahead to the next 12 months. The Art Newspaper?s acting art market editor Tim Schneider peers into his crystal ball to tell us what we might expect from the coming 12 months in the art market. Then, Jane Morris, editor-at-large, Gareth Harris, chief contributing editor, and host Ben Luke select the biennials and exhibitions they are most looking forward to in 2024.

Events discussed:

60th Venice Biennale: Foreigners Everywhere, 20 April-24 November; Pierre Huyghe, Punta Della Dogana, Venice, 17 March-24 November; Julie Mehretu, Palazzo Grassi, Venice, 17 March-6 January; Willem de Kooning, Gallerie dell?Accademia, Venice, 16 April?15 September; Jean Cocteau, Peggy Guggenheim Collection, Venice, 13 April-16 September; Whitney Biennial: Whitney Museum of American Art, opens 20 March; PST Art: Art & Science Collide, 14 September-16 February; Istanbul Biennial, 14 September-17 November; Diriyah Contemporary Art Biennale 2024, Saudi Arabia, 20 February-24 May; Desert X 2024 AlUla, Saudi Arabia, 9 February-30 April; Frick Collection, New York, reopening late 2024; Grand Egyptian Museum, Giza, Egypt, dates tbc; IMAGINE!: 100 Years of International Surrealism, The Royal Museums of Fine Arts of Belgium, 21 February-21 July; Centre Pompidou, Paris, 4 September-6 January (travels to Hamburger Kunsthalle, Germany, Fundación Mapfré, Madrid, Philadelphia Museum of Art, US); Paris 1874: Inventing impressionism, Musée d?Orsay, 26 March-14 July; National Gallery of Art, Washington DC, 8 September-19 January; Van Gogh, National Gallery, London, 14 September-19 January; Matthew Wong, Vincent van Gogh, Van Gogh Museum, Amsterdam, 1 March-1 September; Caspar David Friedrich, Kunsthalle, Hamburg, Germany, until 1 April; Caspar David Friedrich, Alte Nationalgalerie, Berlin, 19 April-4 August; Caspar David Friedrich, Albertinum and Kupferstich-Kabinett, Dresden, Germany, 24 August-5 January; Arte Povera, Bourse de Commerce, Paris, 9 October-24 March; Brancusi, Centre Pompidou, Paris, 27 March-1 July; Comics, Centre Pompidou, Paris, 29 May-4 November; Yoko Ono, Tate Modern, London, 15 February-1 September 2024; Angelica Kauffman, Royal Academy, London, 1 March-30 June; Women Artists in Britain, Tate Britain, London, 16 May-13 October; Judy Chicago, Serpentine North, London, 22 May-1 September; Vanessa Bell, Courtauld Gallery, London, 25 May-6 October; Woven Histories: Textiles and Modern Abstraction, Los Angeles County Museum of Art, US, until 21 January; National Gallery of Art, Washington DC, 17 March-28 July; National Gallery of Canada, Ottawa, 25 October-2 March; The Museum of Modern Art, New York, dates tbc; Unravel: The Power and Politics of Textiles in Art, Barbican, London, 13 February-26 May 2024, Stedelijk Museum, Amsterdam, 14 September-5 January; The Harlem Renaissance, Metropolitan Museum of Art, New York, 25 February-28 July; Siena: the Rise of Painting, 1300-50, Metropolitan Museum, 13 October-26 January; Museum of Modern Art, New York, shows: Joan Jonas, 17 March-6 July, LaToya Ruby Frazier, 12 May-7 September, Käthe Kollwitz, 31 March-20 July; Kollwitz, Städel Museum, Frankfurt, Germany, 20 March-9 June; Käthe Kollwitz, SMK-National Gallery of Denmark, Copenhagen, 7 November-25 February; The Anxious Eye: German Expressionism and Its Legacy, National Gallery of Art, Washington DC, 11 February-27 May; Expressionists, Tate Modern, London, 25 April-20 October; Gabriele Münter: the Great Expressionist Woman Painter, Thyssen Bornemisza, Madrid, 12 November-9 February

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It?s the final episode of 2023 and so, as always, it?s our review of the year. Host Ben Luke is joined by Louisa Buck, The Art Newspaper?s contemporary art correspondent, based in London, and Ben Sutton, editor, Americas, based in New York, to discuss the big art and heritage news stories of the year, from rows over the Israel-Hamas war to thefts at the British Museum and the battle for art-fair supremacy between Art Basel and Frieze. Plus, we discuss the shows and works that made the biggest impact in 2023, from Jaune Quick-to-See Smith at the Whitney Museum of American Art to Philip Guston in Washington and London and Vermeer in Amsterdam to Faith Ringgold in Paris.

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This week: the final big art market event of the year, Art Basel in Miami Beach. The Art Newspaper?s associate digital editor, Alexander Morrison, talks to our acting art market editor, Tim Schneider, in Miami about the fair, as tensions rise ahead of the pivotal 2024 US election. In Athens, the National Museum of Contemporary Art, or EMST, is next week opening a months-long programme which will end up with the entire museum filled with women artists. We talk to EMST?s director, Katerina Gregos, about the programme, called What if Women Ruled the World? And this episode?s Work of the Week is two objects: the 15th-century Florentine artist Francesco Pesellino?s panels telling the story of David and Goliath, made for a luxurious cassone or chest for the Medici family. The panels belong to the National Gallery in London and have just been restored for a new exhibition there, Pesellino: A Renaissance Master Revealed. We talk to Jill Dunkerton, who did the restoration, about these extraordinary paintings.

Art Basel in Miami Beach, Miami Beach Convention Center, until Sunday, 10 December.

What if Women Ruled the World? begins at EMST, Athens, on 14 December.Pesellino: A Renaissance Master Revealed, National Gallery, London, until 10 March 2024.

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The tragic human cost of the bombardment of the Gaza Strip in the Israel-Hamas war is well documented. What is now becoming clear is how many historic buildings and sites have also been destroyed. We talk to Sarvy Geranpayeh, a correspondent for The Art Newspaper in the Middle East, about the fate of heritage in Gaza. As a huge exhibition of the work of Emily Kam Kngwarray, perhaps the most celebrated of all Indigenous Australian artists, opens at the National Gallery of Australia in Canberra, we speak to the show?s curators Kelli Cole and Hetti Perkins, about her life and work. And this episode?s Work of the Week is a manuscript written by Paul Gauguin just months before he died in French Polynesia?Martin Bailey, our London correspondent, tells us more about the document, which has been acquired by The Courtauld in London.

Emily Kam Kngwarray, National Gallery of Australia, Canberra, 2 December-28 April 2024

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This week: The Art Newspaper?s editor, Americas, Ben Sutton discusses redundancies and ticket price-hikes at several museums across the US, and what it tells us about the economic climate for American museums in the wake of the pandemic. After a troubled 15th edition in 2022, Documenta?the influential exhibition that takes place twice a decade in Kassel, Germany?is at the centre of another controversy. The entire committee intended to appoint its artistic director has resigned following disputed allegations of antisemitism against one of the panel. Our correspondent in Germany, Catherine Hickley, tells us more about this and the wider crisis in the German art world relating to the war in Israel and Gaza. And this episode?s Work of the Week is Ronin (1963), a sculpture by the Singaporean-British artist Kim Lim. The work is part of the first survey of Lim?s work at a British gallery since 1999, at The Hepworth Wakefield. Marie-Charlotte Carrier, the curator of the show, tells us more about Lim?s life and art.

To hear more about Documenta in 2022, listen to our episode from 24 June last year and our Review of the Year on 16 December 2022.

Kim Lim: Space, Rhythm & Light, The Hepworth Wakefield, 25 November-2 June 2024.

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This week: the New York auctions. Tim Schneider, The Art Newspaper?s acting art market editor, joins us to discuss two weeks of major sales in New York and whether they have calmed a jittery art market. Multiple Realities: Experimental Art in the Eastern Bloc, 1960s?1980s, an exhibition exploring radical art made in six countries under communist rule in Central Eastern Europe, has just opened at the Walker Art Center in Minneapolis, US, before travelling to Phoenix, Arizona and Vancouver. We talk to the curator in Minneapolis, Pavel Py?. And this episode?s Work of the Week is Terry Adkins?s Last Trumpet (1995). This sculptural installation is included in the latest edition of Artist?s Choice, a regular series of shows exploring the collection of the Museum of Modern Art in New York, selected by notable figures outside the museum. This latest iteration, Spirit Movers, has been chosen by the fashion designer Grace Wales Bonner. We talk to Michelle Kuo, a curator of painting and sculpture at the museum, who has worked with Wales Bonner on the show.

Multiple Realities: Experimental Art in the Eastern Bloc, 1960s?1980s is at the Walker Art Center, Minneapolis, until 10 March 2024, it then travels to the Phoenix Art Museum, Arizona, US, 17 April-29 September 2024 and then the Vancouver Art Gallery, Canada, 2 November 2024-23 March 2025.

Artist?s Choice: Grace Wales Bonner?Spirit Movers, Museum of Modern Art, New York, 18 November-7 April 2024

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This week: live art and activism. Performance art has long been used as a vehicle for protest and political activism and now, in its tenth edition, the Performa Biennial in New York has a new programme dedicated to artists exploring the subject. Protest and Performance: A Way of Life, which started as part of the 19-day festival this week, features eight events involving artists from across the world but with particular links to the Middle East, While it was programmed months ahead of the present war in Gaza, it has inevitably gained further relevance. We talk to Defne Ayas, the senior program advisor, and Kathy Noble, the senior curator at Performa, about the programme. In the UK, the National Trust, which looks after historic buildings and landscapes across Britain, has become the subject of a row between its current management and campaigners who argue that it has strayed from its essential remit. The Art Newspaper?s associate digital editor, Alexander Morrison, speaks to Martin Drury, a former director-general of the Trust, about why it has prompted such an intense debate. And this episode?s Work of the Week is Hans Holbein the Younger?s portrait of Derich Born from 1533, a newly restored painting that features in an exhibition at the Queen?s Gallery in London, one of the principal venues for the UK?s Royal Collection. The show, Holbein at the Tudor Court, is curated by Kate Heard, and she tells us about the picture.

Performa Biennial 2023, New York, until 19 November. Visit performa2023.org for details of events in the Protest and Performance strand.

Holbein at the Tudor Court, Queen?s Gallery, London, until 14 April 2024

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As global political leaders, key figures in the tech industry and academics meet at Bletchley Park in the UK for a two-day summit on artificial intelligence? discussing in particular the risks of these new technologies and how they could be mitigated?we look at a project that reflects AI?s extraordinary potential. The Vesuvius Challenge aims to use AI to unlock the texts in the papyrus scrolls that were carbonised when the Roman city of Herculaneum was covered in ash and pumice after the eruption of the Vesuvius volcano in 79 AD. Brent Seales, the computer scientist behind the project, discusses the technologies involved and his optimism for a positive outcome. Then, Andrew Wallace-Hadrill, director of research and honorary professor of Roman Studies at Sidney Sussex College, Cambridge, tells us about Herculaneum and the Villa of the Papyri where the scrolls were recovered, and considers what the papyri might contain. In modern-day Italy, the country?s culture minister has designated Pietrangelo Buttafuoco?a right-wing journalist and author whose books include a literary portrait of the notorious former Italian prime minister Silvio Berlusconi?as the next president of the Venice Biennale. It is the latest in a series of appointments that opposition politicians describe as ?chilling?. We talk to The Art Newspaper?s correspondent in Italy, James Imam. And this episode?s Work of the Week is Dorothea Lange?s photograph Maynard and Dan Dixon (1930). Philip Brookman, the curator of a new exhibition dedicated to Lange?s portraiture at the National Gallery of Art in Washington, DC, tells us more.

Vesuvius Challenge, visit scrollprize.org

Dorothea Lange: Seeing People, National Gallery of Art, Washington, DC, 5 November-31 March 2024

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This week: the first Kyiv Biennial since Russia?s invasion of Ukraine last year is taking place in various locations across the wartorn country as well as a host of neighbouring European states. We talk to the co-curator, Georg Schöllhammer, about this year?s event. As refugees and displaced people continue to dominate the news, a global sound art project, Migration Sounds, aims to explore and reimagine the sounds of human migration and settlement. We speak to Stuart Fowkes, the founder of Cities and Memory, who has conceived the project with the University of Oxford?s Centre on Migration, Policy and Society (Compas). And this episode?s Work of the Week is Rebirth of a Nation, a mural made for Brixton Underground Station in London by the Ethiopian-Italian artist Jem Perucchini, which is unveiled next week. Jessica Vaughan, the senior curator of Art on the Underground, tells us about the commission.

The Kyiv Biennial continues to unfold into 2024, visit 2023.kyivbiennial.org

Cities and Memory?s Migration Sounds project, citiesandmemory.com/migration; compas.ox.ac.uk

Jem Perucchini: Rebirth of a Nation, Brixton Underground Station, London, from 2 November.

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This week: it?s the second year of Paris +, the event that has taken over from Fiac as the leading French art fair. How is Art Basel?s French flagship faring amid geopolitical turmoil and economic uncertainty, and is Paris still on the rise as a cultural hub? We speak to Georgina Adam, an editor-at-large at The Art Newspaper, and Kabir Jhala, our deputy art market editor, who are in Paris, to find out. The largest ever exhibition of the work of the Japanese photographer Hiroshi Sugimoto opened last week at the Hayward Gallery in London, before travelling to Beijing and Sydney next year. We talk to its co-curator Thomas Sutton. And this episode?s Work of the Week is La femme-cheval or the Horse-Woman, a painting made in 1918 by the French artist Marie Laurencin. She is the subject of a major survey, called Sapphic Paris, opening this week at the Barnes Foundation in Philadelphia in the US. Cindy Kang, who co-curated the exhibition, tells us more about this landmark work in Laurencin?s life.

Paris +, 20-22 October.

Hiroshi Sugimoto: Time Machine, Hayward Gallery, London, until 7 January 2023; UCCA Center for Contemporary Art, Beijing, 23 March-23 June 2024; The Museum of Contemporary Art, Sydney, Australia, 2 August-27 October 2024.

Marie Laurencin: Sapphic Paris, Barnes Foundation, Philadelphia, US, 22 October-21 January.

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The Frieze art fair has turned 20 this week, and is only growing in its ambitions, having acquired the Armory Show fair in New York and Expo Chicago. So what should we make of Frieze?s continuing expansion and what?s the mood at Frieze London and Frieze Masters this year? We talk to Tim Schneider, The Art Newspaper?s acting art market editor, who is over from New York for the fairs. In Reykjavik in Iceland, the artist-run Sequences Biennial opens on Friday. A former curator of the event is Hildigunnur Birgisdóttir, who will represent Iceland at the Venice Biennale in 2024. Tom Seymour went to the Icelandic capital to talk to her about Venice, Sequences and the Icelandic scene. And this episode?s Work of the Week is Open Window, Collioure (1905) by Henri Matisse. The painting is a highlight of the exhibition Vertigo of Colour: Matisse, Derain, and the Origins of Fauvism at the Metropolitan Museum of Art in New York. We speak to Dita Amory, co-curator of the show, about this landmark painting in Matisse?s career.

Frieze London and Frieze Masters, Regent?s Park, London, until 15 October.

The Sequences Biennial, entitled Can?t See, begins on 13 October and continues until 22 October 2023.

Vertigo of Color: Matisse, Derain, and the Origins of Fauvism, Metropolitan Museum of Art, New York, 13 October-21 January 2024; Museum of Fine Arts, Houston, 25 February-27 May 2024.

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The looted Ethiopian icon, AI copyright debate in US, the end of China?s museum boomThis week: The Art Newspaper?s London correspondent Martin Bailey tells us about the Kwer?ata Re?esu, a European painting of Christ that became a revered icon in Ethiopia before being looted by an agent for the British Museum in the 19th century. Martin?s colour photographs of the work?which has been stored in a vault in Portugal?might help us to identify its maker and prompt new calls for the icon?s return to Ethiopia. On Monday this week, campaigners in the US staged an AI Day of Action, amid mounting concerns over the exploitation of artists? work by corporations behind powerful artificial intelligence tools. We talk to our reporter Daniel Grant about renewed calls for the US Congress to enact a law that would ban corporations from copyrighting art made by AI. And as China?s economy struggles, some museums in the country are closing or scaling down their ambitions. We talk to our correspondent in China, Lisa Movius, about how the end of the Chinese economic miracle has hastened the end of its museum boom.

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This week: three big London shows, in depth. As Marina Abramovi? draws huge crowds to the Royal Academy of Arts in London, we interview her about the exhibition?the first ever dedicated to a woman artist in the Royal Academy?s main galleries. At the National Gallery, meanwhile, is a remarkable survey of the paintings of the 17th-century Dutch master Frans Hals, which will tour next year to Amsterdam and Berlin. We take a tour with Bart Cornelis, curator of the National?s incarnation of the show. And this episode?s Work of the Week is Peter Paul Rubens?s Three Nymphs with a Cornucopia of around 1625 to 1628 (painted with Frans Snyders). In the collection of the Prado in Madrid, it is one of a number of major loans to the exhibition Rubens and Women at the Dulwich Picture Gallery in London. Amy Orrock, one of the curators of the exhibition, tells us more.

Marina Abramovi?, Royal Academy of Arts, London, until 1 January 2024. You can hear our interview with Marina during the Covid lockdown in our episode from 8 May 2020, and a conversation with Tate Modern?s Catherine Wood about Ulay, following his death in 2020, in the episode from 6 March that year.

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This week: the latest controversies prompted by the Unesco World Heritage Committee. As we mentioned last week, the 45th session of the committee is taking place in the Saudi Arabian capital, Riyadh, and continues until 25 September. The founder of The Art Newspaper, Anna Somers Cocks, joins host Ben Luke to look at the latest sites granted World Heritage status and at the Committee?s decision not to add Venice to the organisation?s endangered list. We ask: is Unesco so mired in politics that it cannot adequately perform its role? The Colombian artist Fernando Botero died last week, aged 91, and we talk to the gallerist Stéphane Custot, of Waddington Custot galleries in London, about this painter and sculptor who drew ire from many critics but achieved widespread public acclaim. And this episode?s Work of the Week is October?s Gone . . . Goodnight (1973) by Barkley L. Hendricks. As a group of paintings by Hendricks goes on display among the masters at Frick Madison in New York, Aimee Ng, co-curator of the exhibition, tells us about the painting.

Barkley L. Hendricks: Portraits at the Frick, Frick Madison, New York, until 7 January 2024.

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A Unesco conference and archeological summit in Saudi Arabia are the latest examples of the country?s increasing focus on culture as part of the so-called Vision 2030 programme. We look at Saudi Arabia?s unprecedented and lavishly funded focus on contemporary and ancient culture and how that relates to ongoing concerns about artistic freedom and human rights abuses in the kingdom. Alia Al-Senussi, a cultural strategist, and senior advisor at Art Basel and to the Saudi Ministry of Culture, joins host Ben Luke to discuss the contemporary art scene, and Melissa Gronlund, a reporter on the Middle East for The Art Newspaper, tells us about the push to reveal hitherto underexplored Saudi heritage. The Sierra Leone-born, London-based artist and poet Julianknxx this week unveiled a new project at London?s Barbican Centre, Chorus in Rememory of Flight. The multi-screen installation features performers and choirs from the African diaspora who Julianknxx met on a 4,000-mile trip around European cities with colonial histories, from Lisbon via Marseille, Rotterdam and Berlin to London. We talk to him about this epic endeavour. And this episode?s Work of the Week is among the greatest works on paper ever made: Michelangelo?s studies in red chalk for the Libyan Sibyl, one of the most distinctive figures on his Sistine Chapel ceiling. The drawing features in Michelangelo and Beyond at the Albertina in Vienna and one of its curators, Constanze Malissa, tells us more about it.

Art in Saudi Arabia: A New Creative Economy? by Rebecca Anne Proctor, with Alia Al-Senussi, published 30 November, Lund Humphries, £19.99.

Julianknxx: Chorus in Rememory of Flight, The Curve, Barbican Centre, London, and online on WePresent, until 11 February 2024; Julianknxx is in A World in Common: Contemporary African Photography, Tate Modern, until 14 January 2024.

Michelangelo and Beyond, Albertina, Vienna, 15 September-14 January 2024.

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It?s our 250th podcast, and in this special episode we focus on the future. We ask leading figures across the art world to tell us about their hopes and concerns for the visual arts. Among them are Max Hollein, the director of the Metropolitan Museum of Art in New York, Bénédicte Savoy, the co-author of the Saar-Savoy report into the restitution of cultural heritage, Shanay Jhaveri, the head of visual arts at the Barbican, the Berlin-based curator Bonaventure Soh Bejeng Ndikung, Kymberly Pinder, the dean of Yale School of Art, and the artist Tomás Saraceno. Host Ben Luke is then joined by three core members of The Art Newspaper?s team and regular guests in the first 249 episodes of this podcast: editors-at-large Cristina Ruiz and Georgina Adam and our contemporary art correspondent Louisa Buck discuss the present and future of museums and heritage, art and artists and the art market.

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In the first episode of this new season of The Week in Art, we talk to Martin Bailey, The Art Newspaper?s London correspondent, about the thefts scandal at the British Museum and its implications for the museum in the future. The artist Grada Kilomba is one of four curators of this year?s S?o Paulo biennial, called Choreographies of the Impossible, and she joins our host Ben Luke to discuss the show. And this episode?s Work of the Week is Village Square at Céret, a painting made in 1920 by Chaïm Soutine. It features in the exhibition Against the Current, which opens this week at K20 in Düsseldorf, Germany. The exhibition?s co-curator, Susanne Meyer-Büser, tells us about the picture.

The S?o Paulo biennial: Choreographies of the Impossible, Ciccillo Matarazzo Pavilion, S?o Paulo, Brazil, 6 September-10 December.

Chaïm Soutine: Against the Current, K20 Düsseldorf, 2 September until 14 January next year; Louisiana Museum of Modern Art, Humlebæk, Denmark, 9 February-14 July 14 2024; Kunstmuseum Bern, Switzerland, 16 August-1 December 2024.

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This week: in the final episode of this season, James Goodwin, a specialist on the art market and its history, tells us about what high inflation and interest rates mean for the art market and what lies ahead. As Spain heads to the polls in July, we talk to Emilio Silva, president of the Association for the Recovery of Historical Memory in Madrid. What could the election mean for the controversial Spanish laws of Historical Memory and Democratic Memory relating to the Civil War of 1936 to 1939 and the period of Francisco Franco?s fascist dictatorship? And this episode?s Work of the Week is a project by the Swedish duo Goldin + Senneby. The work, called Quantitative Melencolia, involves recreating the lost plate for Albrecht Dürer?s famous engraving Melencolia I. It is part of the exhibition Economics: The Blockbuster, which opens this week at the Whitworth Art Gallery in Manchester, UK.

Economics the Blockbuster: It?s not Business as Usual, Whitworth Art Gallery, until 22 October. The Manchester International Festival, until 16 July.

The Week in Art is back on 1 September.

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The Art Newspaper?s editor, Alison Cole, and London correspondent, Martin Bailey, join our host Ben Luke to review the National Portrait Gallery after its £41m revamp. We talk to Nancy Ireson at the Barnes Foundation in Philadelphia about the exhibition William Edmondson: A Monumental Vision. Edmondson was the first African American artist to have a solo show at the Museum of Modern Art in New York in the 1930s, but has rarely been shown in museums on the US East Coast since. And this episode?s Work of the Week marks the 75th anniversary of the arrival in the UK of the Empire Windrush, a boat carrying passengers from the Caribbean. Zinzi Minott, the choreographer and artist, has made a film called Fi Dem about the Windrush on this anniversary every year since 2017. She tells us about the latest iteration, which is at the heart of a new exhibition at Queercircle in London.

The National Portrait Gallery is open now. Yevonde: Life and Colour, until 15 October.

William Edmondson: A Monumental Vision, Barnes Foundation, Philadelphia, 25 June-10 September.

Zinzi Minott?s Fi Dem VI is part of her exhibition Many Mikl Mek Ah Mukl, Queercircle, London, until 27 August.

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As her new series for the BBC, Africa Rising, takes Afua Hirsch to Morocco, Nigeria and South Africa, we talk to her about the artists and art scenes she encountered and what she took away from her experiences. The Liverpool Biennial?s latest edition opened last weekend and has a South African curator, Khanyisile Mbongwa, and an IsiZulu title, uMoya: The Sacred Return of Lost Things. The Art Newspaper?s contemporary art correspondent, Louisa Buck, visited the biennial and reviews it for us. And it is Art Basel this week, in its original Swiss location, so this episode?s Work of the Week is one of the most notable works for sale at the fair. Valentine was painted by Jean-Michel Basquiat in 1984 and given to his then girlfriend, Paige Powell, on Valentine?s Day. Jeffrey Deitch, who is selling the work at Art Basel, tells us its story.

Africa Rising: Morocco is on the BBC iPlayer now. The Nigeria episode is on BBC Two on 20 June at 9pm for UK viewers and on BBC iPlayer, and South Africa is broadcast on BBC Two at 27 June at 9pm. For listeners outside the UK, check your local listings.

Liverpool Biennial, uMoya: The Sacred Return of Lost Things, until 17 September.

Art Basel, until 18 June; Jean-Michel Basquiat: the Modena Paintings, Beyeler Foundation, Basel, until 27 August.

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This week: Thom Yorke and Stanley Donwood on their collaborative art, Wayne McGregor on his new choreographic work?a collaboration with the late Carmen Herrera?and Whistler?s Mother returns to Philadelphia.Ahead of an exhibition of their work in London in September, we talk to Radiohead?s Thom Yorke and Stanley Donwood?who has created the artwork with Yorke for every Radiohead album since 1994, as well the visuals accompanying Thom?s solo records and side projects including the recent records by The Smile?about their collaboration. A new work for the UK?s Royal Ballet by the choreographer Wayne McGregor premieres at the Royal Opera House in London on 9 June. Untitled, 2023 is a collaboration with the Cuban-American artist Carmen Herrera, developed before Herrera?s death last year at the age of 106. We talk to McGregor about the piece and the intersection between visual art and choreography. And this episode?s Work of the Week is one of the most famous pictures in the world: Arrangement in Grey and Black, better known as Whistler?s Mother, by James Abbott McNeill Whistler. It?s part of an exhibition called The Artist?s Mother: Whistler and Philadelphia, curated by Jenny Thompson, and we speak to Jenny about the work and the show.

Thom Yorke and Stanley Donwood: The Crow Flies will be at Tin Man Art, Cromwell Place, London in September ? exact dates to be confirmed, visit tinmanart.com.

Untitled, 2023, is at the Royal Opera House in London until 17 June, as part of the triple bill with Corybantic Games, a tribute to Leonard Bernstein by the Royal Ballet?s artistic associate Christopher Wheeldon, and a revival of Anastasia Act III by Kenneth MacMillan.

The Artist?s Mother: Whistler and Philadelphia, Philadelphia Museum of Art, 10 June-29 October.

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As It?s Pablo-matic: Picasso According to Hannah Gadsby opens at the Brooklyn Museum, New York, we talk to Catherine Morris and Lisa Small, who have curated the show with the Australian comedian. Floods at the end of last month have caused widespread damage to heritage in the Italian region of Emilia Romagna; we speak to James Imam, our correspondent in Rome, to gauge the extent of the damage and explore the Italian government?s response. And this week marks the centenary of the birth of the great US abstract painter Ellsworth Kelly. This episode?s Work of the Week is Kelly?s Spectrum IX (2014), one of a series of paintings based on a spectrum of colours made by Kelly across his seven-decade career. Yuri Stone, the assistant curator at Glenstone in Potomac, Maryland, US?where the piece is part of a retrospective of Kelly?s work?tells us more.

It?s Pablo-matic: Picasso According to Hannah Gadsby is at the Brooklyn Museum, New York, until 24 September. Previous Picasso items on this podcast include a tour of Tate Modern?s Picasso 1932 on 8 Mar 2018, and a look at his response to Old Masters on 3 June 2022.

Ellsworth Kelly at 100 continues at the Glenstone, Potomac, Maryland, US, until March 2024; for more on the anniversary events visit ellsworthkelly.org/centennial

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This week: the first ever museum show of Keith Haring?s work in Los Angeles. We talk to Sarah Loyer, the curator of Keith Haring: Art Is for Everybody at the Broad in Los Angeles. Alex Farquharson, the director of Tate Britain in London, has led the complete rehang of the museum?s collection, including a vastly expanded presence of women and artists of colour across 500 years of British art. He tells us about the project. And this episode?s Work of the Week is The Room, Part 1 (1975) by the late San Francisco-born painter Joan Brown. The painting is part of the touring survey that opens this week at the Carnegie Museum of Art in Pittsburgh, and Liz Park, the curator of the Pittsburgh show, tells us more about it.

Keith Haring: Art Is For Everybody, The Broad, Los Angeles, 27 May-8 October; Art Gallery of Ontario, Toronto, 11 November-17 March 2024; Walker Art Center, Minneapolis, 27 April-8 September 2024.

The rehang of Tate Britain is open now.Joan Brown, Carnegie Museum of Art, Pittsburgh, 27 May-24 September. Orange County Museum of Art, Costa Mesa, California, 7 February?1 May 2024.

Joan Brown: Facts & Fantasies, Matthew Marks Gallery, New York, until 17 June.

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This week: the Frieze art fair and spring auctions in New York. As the Frieze Art Fair returns to The Shed in Manhattan, coinciding with the season?s big auctions, The Art Newspaper?s live editor, Aimee Dawson, and our contributing editor Anny Shaw take the temperature of the market in New York. Just as we completed the episode, the US Supreme Court ruled that Andy Warhol infringed on the photographer Lynn Goldstein?s copyright when he created a series of silkscreens based on her photograph of the late rock singer Prince. Coincidentally, we had already recorded an interview with our New York correspondent Laura Gilbert about the fact that a Manhattan judge last week refused to throw out two photographers? long-running copyright lawsuits against the artist Richard Prince, for his New Portraits series, which appropriated their original images. The case is bound to be affected by the Supreme Court?s decision, as Laura tells us. And this episode?s Work of the Week is Metronome by Sarah Sze, a new site-specific work made for a former first class waiting room at Peckham Rye station in south London, which until recently had been almost derelict. We speak to Sarah about her new installation.

Frieze New York continues until Sunday, 21 May.

Listen to an interview with Virginia Rutledge, the art historian and lawyer, about the Andy Warhol/Lynn Goldsmith case in The Week in Art episode from 24 June 2022.

Sarah Sze: The Waiting Room, Artangel at Peckham Rye Station, London, until 17 September. Sarah Sze: Timelapse, Solomon R. Guggenheim Museum, New York, until 10 September. Listen to the podcast A brush with? Sarah Sze, from 29 September 2021.

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This week: the Sudan crisis. How are artists responding to another war in the East African country? The photographer Ala Kheir joins us from Khartoum to tell us about the conflict in Sudan and how it is affecting him and other artists. We talk to Alyce Mahon, the co-curator of Sade: Freedom or Evil, a new exhibition at the Centre Cultura Contemporània de Barcelona (CCCB) in Barcelona about the 18th-century writer and libertine the Marquis de Sade and his artistic and literary influence, particularly in the 20th and 21st centuries. And this episode?s Work of the Week is Gwen John?s La Chambre sur la Cour (1907-08), a painting of John herself in a Parisian interior. The picture is one of the highlights of an exhibition dedicated to John at the Pallant House Gallery in Chichester, UK.

Ala Kheir on Instagram @ala.kheir.

Sade: Freedom or Evil, Centre Cultura Contemporània de Barcelona, until 15 October. Alyce Mahon, The Marquis de Sade and the Avant-Garde, Princeton University Press, $47/£40.

Gwen John: Art and Life in London and Paris, Pallant House Gallery, Chichester, 13 May-8 October. Alicia Foster, Gwen John: Art and Life in London and Paris, Thames and Hudson, $39.95/£30. Out now in UK, published in the US on 18 July.

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This week: the coronation in the UK. As Charles III is crowned at Westminster Abbey this weekend, Anna Somers Cocks, founder of The Art Newspaper and a former assistant keeper of metalwork at the Victoria and Albert Museum in London, tells us about the objects involved in the coronation and the monarchical history they convey. The Metropolitan Museum of Art in New York this week opens Karl Lagerfeld: A Line of Beauty, the latest in the hugely successful Costume Institute exhibitions. The German designer, who died in 2019, was also the inspiration for this year?s Met Gala, the museum?s star-studded fundraiser. We talk to Stephanie Sporn, a fashion historian and arts and culture writer, about the exhibition, the gala and the controversy around Lagerfeld?s offensive comments about a range of issues. And this episode?s Work of the Week is Good Housekeeping III (1985/2023) by the British artist Marlene Smith. She was part of the Blk Art Group, a collective of young Black British artists active in the late 1970s and 1980s, which is the subject of The more things change?, an exhibition at the Wolverhampton Art Gallery in the UK. Smith has re-created the work, first made in 1985, for the show, and tells us more about its making, its context, and the history of the Blk Art Group.

Karl Lagerfeld: A Line of Beauty, Metropolitan Museum of Art, New York, until 16 July.

The more things change?, Wolverhampton Art Gallery, UK, until 9 July.

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This week: AI and art. We explore some of the key aspects relating to artificial intelligence and its use in the art world: the works being made using AI technologies and exploring their impact; anxieties about machines replacing humans; the idea of AIs being able to think and create independently; and whether we can truly grasp the significance and possible effects of the technologies and those who control it, and more. Host Ben Luke talks to Noam Segal?an associate curator at the Solomon R. Guggenheim Museum, New York, whose focus is on technology-based art?about AI, its history in art, its social and environmental effects, and how artists are using it today. The Art Newspaper?s live editor, Aimee Dawson, talks to the artist and writer Gretchen Andrew about making art with AI and together they explore its wider application across the art world. And this episode?s Work of the Week is Pseudomnesia: The Electrician, an image made using AI by the photographer Boris Eldagsen. The piece caused controversy earlier this month when it was awarded a prize at the Sony World Photography Awards, which Eldagsen refused to accept. The researcher and photographer Lewis Bush discusses the work, the controversy and wider questions around AI and photography.

? Watch Noam Segal's discussions with artists and thinkers in The Algorithmic State here: noamsegal.net/talks-1; Read Gretchen Andrew's Art Decoded series here: theartnewspaper.com/series/art-decoded

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This week: we take a tour of Tate Modern?s exhibition that brings together the Swedish painter Hilma af Klint and the Dutch artist Piet Mondrian. We hear about the two artists? distinctive contributions to abstraction, their shared interest in esoteric belief systems and their deep engagement with the natural world, from one of the show?s curators, Bryony Fer. Our editor, Americas, Ben Sutton visited the Whitney Museum of American Art in New York to talk to the Native American artist Jaune Quick-to-See Smith, as her retrospective opens at the museum. And this episode?s Work of the Week is a reconstruction of a Roman gateway that has just opened at Richborough Roman Fort in Kent, southern England. Andrew J. Roberts, a properties historian with English Heritage, the charity that looks after the historic site, explains what the gateway tells us about the Romans? arrival in Britain in 43 CE.

Hilma af Klint and Piet Mondrian: Forms of Life, Tate Modern, London, until 3 September; Kunstmuseum den Haag, The Hague, 7 October-25 February 2024

Jaune Quick-to-See Smith: Memory Map, Whitney Museum of American Art, New York, until 13 August; Modern Art Museum of Fort Worth, 15 October -7 January 2024; Seattle Art Museum, 15 February?12 May next year. The Land Carries Our Ancestors: Contemporary Art by Native Americans, National Gallery of Art, Washington D.C., 24 September-15 January 2024; New Britain Museum of American Art, Connecticut, 18 April 2024-15 September 2024.

The Roman gateway and rampart, Richborough Roman Fort and Amphitheatre, Kent, now open.

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This week: Expo Chicago and the art scene in the Windy City. Ben Sutton, The Art Newspaper?s editor, Americas, and Carlie Porterfield, associate editor, art market, Americas, discuss the fair, and the wider market and gallery scene in Chicago. As the US president Joe Biden visits Northern Ireland to honour the 25th anniversary of the Good Friday or Belfast agreement, we talk to Hannah Crowdy, head of curatorial at National Museums Northern Ireland, a group of four museums. She tells us about how the museums are addressing the anniversary, representing Northern Ireland?s recent history and looking to the future. And this episode?s Work of the Week is Georges Clairin?s 1876 portrait of the celebrated French actor Sarah Bernhardt, who died 100 years ago. The work is part of a huge new exhibition about Bernhardt opening this week at the Petit Palais in Paris. The museum?s director, Annick Lemoine, tells us about the painting and the extraordinary fame of the woman it depicts.

Principled and Revolutionary: Northern Ireland?s Peace Women by Hannah Starkey, Ulster Museum, Belfast, until 10 September; Array Collective: The Druthaib?s Ball, Ulster Museum, until 3 September.

Sarah Bernhardt: and the woman created the star, Petit Palais, Paris, until 27 August.

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This week: Ben Luke talks to Melanie Gerlis about the recent turbulence in the banking sector, as US banks go under, an ailing Credit Suisse is acquired by UBS and Deutsche Bank shares fall at one point by 14%. What are the implications for the art world? Melanie also explains the figures in the latest Art Basel and UBS Global Art Market Report. The Baltimore Museum of Art in the US this week opens the exhibition The Culture: Hip Hop & Contemporary Art in the 21st Century. We speak to Asma Naeem, the director of the BMA and co-curator of the show, about what she?s called ?the second pop art movement?. And this episode?s Work of the Week is The Calling of Saint Matthew by the 17th-century Afro-Hispanic artist Juan de Pareja. He is best known as the subject of one of the greatest ever portraits, by Diego Velázquez, the artist who enslaved Pareja for two decades before his manumission in Rome in 1650. David Pullins and Vanessa K. Valdés, the curators of a new exhibition about Juan de Pareja at the Metropolitan Museum of Art in New York, tell us about the painting.

The Culture: Hip Hop and Contemporary Art in the 21st Century, Baltimore Museum of Art, until 16 July; St Louis Art Museum, 26 August-1 January 2024.

Juan de Pareja, Afro-Hispanic Painter, Metropolitan Museum of Art, New York, until 16 July.

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The Art Newspaper?s annual report on museum visitor figures around the world has been published. We talk to Lee Cheshire, who co-edited the report, and to Charles Saumarez Smith, a former director or chief executive of three London museums and galleries?the National Portrait Gallery, National Gallery and Royal Academy of Arts?about how important the figures are to museums and whether they are a valid gauge of institutions? success. The exhibition Manet/Degas opened at the Musée d?Orsay in Paris this week, before travelling later in the year to the Metropolitan Museum of Art in New York. Ben Luke visits the show in Paris and speaks to Laurence des Cars, the former director of the Musée d?Orsay and now president-director of the Musée du Louvre, and Stéphane Guégan, the co-curator of the exhibition. And in London, a show of the paintings of Berthe Morisot, the pioneering Impressionist with artistic and familial connections to Manet and Degas, has opened at the Dulwich Picture Gallery. This episode?s Work of the Week is Morisot?s Woman at Her Toilette (1875-80). Lois Oliver, the curator of the exhibition in Dulwich, tells us about this pivotal picture.

Manet/Degas, Musée d?Orsay, Paris, until 23 July; Metropolitan Museum of Art, New York, 24 September-7 January 2024

Berthe Morisot: Shaping Impressionism, Dulwich Picture Gallery, London, until 10 September, Musée Marmottan Monet later in 2023 (dates to be announced).

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This week: Art Basel Hong Kong bounces back. After cancellations, delays and two years of restricted fairs, the fair has returned to something like pre-Covid normality. So, as other Asian art centres like Seoul and Singapore become increasingly influential, what is the atmosphere like in Hong Kong? Gareth Harris, chief contributing editor at The Art Newspaper, joins us to discuss the fair, the M+ museum and more. It is becoming increasingly clear that social media corporations have become self-appointed cultural gatekeepers that decide which works of art can freely circulate, be pushed into the digital margins or even banned. Our live editor, Aimee Dawson, talks to the artist Emma Shapiro and Elizabeth Larison, the Director of the Arts & Culture Advocacy Program at the National Coalition Against Censorship, about the issue and a project to counter this tendency, called Don?t Delete Art. And this episode?s Work of the Week is Naabami (thou shall/will see): Barangaroo (army of me), a photographic project by Brenda L. Croft, in which she depicts fellow First Nations women and girls. The work is part of The National 4: Australian Art Now, a survey across multiple venues in Sydney. One of the show?s curators, Beatrice Gralton, tells us about Croft?s epic series.

Art Basel Hong Kong, until 25 March.

Visit Don?t Delete Art: dontdelete.art

The National 4: Australian Art Now continues until 23 July.

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This week: the extraordinary story behind what Canadian police have called ?the biggest art fraud in history?. More than 1,000 fake works purporting to be by the First Nations artist Norval Morrisseau are seized and eight people have been charged. The Art Newspaper?s Editor, Americas, Ben Sutton, tells the extraordinary story, involving a rock star, a television documentary and alleged forgery rings, and what it tells us about the market for First Nations art in Canada.

A report into artists? pay in the UK has exposed the inordinately low sums paid to artists for their labour by arts organisations. We talk to the art collective Industria, who wrote the report, and Julie Lomax, the CEO of a-n, The Artists? Information Company, which has published the study.

And this episode?s Work of the Week is An Old Woman (around 1513) by the Northern Renaissance artist Quinten Massys, a painting better known as The Ugly Duchess. A new exhibition at the National Gallery focuses on this work in its collection, exploring its origins in a drawing by Leonardo da Vinci, and the combination of satire, folklore, humanism and misogyny from which it emerged. Emma Capron, the curator of the show, tells us more.

A PDF of Industria?s Structurally F?cked report can be found at a-n.co.uk.

Industria?s website is we-industria.org.The Ugly Duchess: Beauty and Satire in the Renaissance, National Gallery, London, until 11 June.

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Is the Old Masters market struggling? As Tefaf opens its fair in Maastricht, we look at this major moment in the market calendar and what it tells us about the strength or otherwise of the market for historic art. The Art Newspaper?s Acting Art Market editor, Anny Shaw, joins us from the fair. The Institut du Monde Arabe, or Arab World Institute, in Paris has just received a major gift of more than 1,600 modern and contemporary works from the French-Lebanese dealer and collector Claude Lemand and his wife, France?a collection that will transform the displays in the institute?s museum. We talk to the director of the museum, Nathalie Bondil, about her future plans and the ?6m project to transform the institute. And this episode?s Work of the Week is a self-portrait in red chalk by the Venetian Rococo artist Rosalba Carriera. Dagmar Kornbacher, the director of the Kupferstichkabinett in Berlin, tells me about the drawing, which is a key work in Muse or Maestra?, the museum?s new exhibition of work by historic Italian women artists.

Tefaf Maastricht, until 19 March.

Muse or Maestra?: Women in the Italian Art World, 1400-1800, Kupferstichkabinett, Berlin, until 4 June.

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This week: as the Art Dubai fair opens, The Art Newspaper?s acting digital editor Aimee Dawson tells us about this latest edition, its ongoing commitment to displaying the art of the global south and its continued focus on digital art. The Museum of Modern Art in New York opens the largest media exhibition it has ever staged, Signals: How Video Transformed the World on 5 March. It looks at how artists around the globe have used video as a networked technology capable of reaching huge audiences but also how they have employed video to reflect on or engage in activism and urgent political developments. We talk to the show?s curators, Stuart Comer and Michelle Kuo. And this episode?s Work of the Week is a coffee pot and milk jug from 1960 by Lucie Rie, the great modernist potter. Eliza Spindel, co-curator of the exhibition Lucie Rie: The Adventure of Pottery at Kettle?s Yard in Cambridge, UK, tells us about these objects and Rie?s life and work.

Art Dubai until 5 March.

Signals: How Video Transformed the World, Museum of Modern Art, New York, 5 March-8 July.

Lucie Rie: The Adventure of Pottery, Kettle?s Yard, Cambridge, UK, 4 March-25 June.

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This week: Nigeria heads to the polls this weekend; what are the implications for its museums and art scene? Dolly Kola-Balogun, director of the Retro Africa gallery in Abuja, reflects on the candidates and discusses the importance of art, and culture more widely, to the country?s future. We also talk to Patrick Bringley, the author of a new book All the Beauty in the World: the Metropolitan Museum of Art and Me, in which he reflects on his experiences as a guard at the museum and coming to terms with the loss of his brother. And this episode?s Work of the Week is Boats in Front of the Grotto in the Park at Méréville by Hubert Robert. It features in The Garden: Six Centuries of Art and Nature at the Nationalmuseum in Stockholm, whose curator, Magnus Olausson, tells us about the painting.

All the Beauty in the World: The Metropolitan Museum of Art and Me, by Patrick Bringley, Simon and Schuster (US) $27.99, out now. The Bodley Head (UK), £20, 16 March.

The Garden?Six Centuries of Art and Nature, Nationalmuseum, Stockholm, Sweden, until 7 January 2024.

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