Since 2008, just 2.4 percent of all acquisitions and gifts and 7.6 percent of all exhibitions at 30 prominent American museums have been of work by African American artists, according to a joint investigation by In Other Wordsand artnet News.

“The [City Canvas] program was designed to beautify New York City’s visual landscape by installing large-scale – and temporary – artwork on its endless construction fences and 270 miles of sidewalk sheds. … Buildings Commissioner Rick D. Chandler said ‘If anyone can bring some love to the sidewalk sheds New Yorkers love to hate, it’s our city’s artists.'”

The recently authenticated Leonardo da Vinci painting, now the world’s most expensive artwork ($450 million), spent nearly half a century in a family home in Baton Rouge before dealers purchased it in a 2005 estate sale for under $10,000.

The major art fairs should acknowledge that the nature of artist representation is changing and that the traditional model of a fixed gallery is losing legitimacy, in large part, ironically, because of the popularity of the fairs. A concomitant decrease in gallery visitor numbers has led several art dealers to turn to alternative, hybrid or nomadic galleries that depart from the traditional model centered around a fixed, expensive, exhibition space. The biggest art fairs should relax their admission criteria and open up their events to more curators and directors behind these new gallery models.

On Monday (17 September), the Office of the United States Trade Representative issued a revised list of imported goods subject to the tariff—which is due to rise to 25% by next year—that no longer includes Chinese-made art and antiquities.

“In which one writer, ARTnews Executive Editor Andrew Russeth, attempts to narrate life in the New York art world over the course of one full season, from September 2017 to September 2018, with brief forays to Miami, New Orleans, Basel, Buffalo, San Francisco, and a few other places. Along the way, countless exhibitions are visited, performances are witnessed, museum protests are reported on, art fairs are tolerated, and celebrations of various kinds are attended. Meanwhile, all sorts of surprises come in over the transom.”

“The Frick Collection in New York will have its first-ever intervention by a contemporary artist in its permanent collection galleries next May, when the UK artist and writer Edmund de Waal will install site-specific porcelain works.”

“This is the latest major commission for the Ghanian-British architect who has completed a bunch of high profile projects for civic and cultural institutions over the years; most notably, the acclaimed Smithsonian National Museum of African American History and Culture in Washington, D.C. He is currently overseeing a number of museum designs including the new home for the Studio Museum in Harlem and the Latvian Museum of Contemporary Art in Riga.”

Elliot Bostwick Davis has been chair of the department of Art of the Americas at the Museum of Fine Arts, Boston for the past 18 years. During her tenure there, she oversaw the 2010 opening of the museum’s widely acclaimed Art of the Americas wing, which brought forth expansive notions of connectivity by juxtaposing American colonial art, a strength of the museum, with art from throughout Latin America, indigenous art, and art from pre-Colombian civilizations.

In all, 281 bronze leaves are in 15 locations around the city. They serve as headstones for those who all too often can’t afford them. The leaves are paid for by donations, engraved with names and dates, and usually placed on sidewalks near where their namesakes lived. The only requirement is that the remembered person was homeless in Seattle and also died in Seattle.

Many foreign correspondents have reached for analogies to give readers a sense of the disaster, but it’s hard to convey the museum’s significance: in addition to containing one of the richest collections of natural-history artifacts in the world, it was one of Latin America’s leading centers for postgraduate studies. It’s as if, in New York, the American Museum of Natural History and the New School, or a part of the Columbia campus, had been built on the same spot, and then was reduced to ashes.

“The new color uses nanotechnology to achieve an exceptionally pure hue of blue that is best seen under ultraviolet (UV) light, which gives it an otherworldly, radioactive glow. (Without UV lighting, it has an unremarkable off-white appearance.) The key components of the futuristic blue are quantum dots: tiny semiconductor particles usually measuring no more than one millionth of an inch in size.”

“Forty-nine times the Bible mentions a perfect, pure blue, a color so magnificent and transcendent that it was all but impossible to describe. Yet, for most of the last 2,000 years, nobody has known exactly what ‘biblical blue’ — called tekhelet in Hebrew — actually looked like or how it could be re-created.” Writer Noga Tarnopolsky tells the story of the team who figured it out.

All six artists participating in the experiment were commissioned to paint a piece inspired by the same collection of 20th-century American abstract expressionists. For Cloudpainter, a painting robot developed by Virginia-based artist Pindar van Arman, the collection became a dataset to train its algorithm. Its final output (painting F above) is a far cry from the geometric, color-between-the-lines art you might imagine from a robot artist. Instead, with dripping colors and blurred lines, the piece looks surprisingly, well, human.

By 1856, the commission had adopted a plan by its engineer-in-chief and landscape design expert Colonel Egbert Ludovicus Viele, and they were preparing to start construction on the grand new park. But their plan hit a road bump. An architect named Calvert Vaux had recently relocated to the city and had gotten a glimpse of the proposed design. It was a disaster.

Mary Kelly, who has been creating conceptual and feminist art for decades – often with compressed lint from the dryer – says closing borders is devastating for artists. “Living all over very different places gives you insight about how different cultures and political systems work, but it also shows you in some way how things are connected. … Internationalism is, I believe, always connected to movements that are progressive and the opposite goes for closing down.”

The tax code, which favors a class that can buy art, also takes away a tool that the ultra-rich used to sell the art they had collected. One art advisor: “The effect won’t be negligible.”

Historian Nir Shafir (editor-in-chief of the Ottoman History Podcast) explains how he figured out that all these artworks were forgeries and explores how and where they were made and why they fooled so many who should have known better.

“The Tomb of Mehu, in the Saqqara necropolis near Giza, features dozens of vibrant paintings from Egypt’s sixth dynasty, dating back approximately four millennia. … [It] was first discovered by Egyptologist Zaki Saad in 1940, but remained off-limits to the public until this month.”

“Since the dawn of the twentieth century, our understanding of good design has had a slightly moralizing tone, even as it shifted from early Bauhaus to boxy midcentury modern and into the sleek … white cubes of twenty-first-century Minimalism. … Ugliness isn’t just a rebellion against the norms of good taste; it’s also a fittingly chaotic aesthetic for a chaotic era of presidential tweets, alternative facts, and government propaganda.”

Public display of Pascal’s work was a condition of the 1994 contract signed by Corcoran director David C. Levy and several Tyler Art trustees, including Petty. The trust gave the museum about 100 pieces of art and $1 million “to cover costs associated with establishing and maintaining the permanent gallery and the collection,” according to court filings. The agreement states that the art and the cash gift must be returned if the Corcoran “has not complied with the conditions.”

The relic — a piece of stone marked with a hashtag-type design in red ochre, discovered in an oceanside cave between Cape Town and Port Elizabeth — is roughly 30,000 years older than the oldest previously-known drawings, which were found in Spain and Indonesia.

“A breezy, sunny week in Buenos Aires ushered in the inaugural initiative for Art Basel Cities, one of the latest endeavors from the eponymous art fair powerhouse. … Working essentially as long-term consultants for Buenos Aires, Art Basel hopes to strengthen the local cultural scene and create more global awareness of the city’s cultural offerings.”

The contrast with the prestigious art fair even a decade ago was striking, with only 61 exhibitors this year, two thirds of them French. On Monday, the First Lady Brigitte Macron toured the stands for three hours, perhaps a salve for the dealers. But no significant historical work or masterpiece was unveiled.

Alina Cohen’s list for Artsy goes all the way back to Pliny and right up to Jerry (but not Roberta). It’s mostly white males (there’s one 6th-century Chinese scholar), but three of the seven 20th-century critics are women. (Also, it must be said that three or four individuals on this list would not be considered by most people to be art critics as such.)

“While most Brazilians were still reeling from the devastating fire at the country’s National Museum last week, Luana Santos and fellow museum studies students in Rio de Janeiro had started gathering photos and videos of missing items, and even selfies taken by visitors to the vast archive. … Within hours, their appeal went worldwide; so far, it has received 14,000 replies – including videos, photos, written recollections and even drawings of favourite exhibits.”

The highly anticipated museum, designed by Japanese architect Kengo Kuma and opening to the public this weekend, is part of a £1 billion plan to regenerate Dundee’s waterfront and change the Scottish city’s public image from post-industrial wasteland to cultural hub.