Editor’s Note: This story originally appeared in On Balance, the ARTnews newsletter about the art market and beyond. Sign up here to receive it every Wednesday.
Happy Wednesday! Here’s a round-up of who’s moving and shaking in the art trade this week.
Industry Moves
- Gladstone Takes on the Estate of Anna Zemánková: The gallery, which staged an exhibition of her work last spring, will present a solo booth of the artist’s work at TEFAF New York.
- Sándra Vasquez de la Horra Joins Tanya Bonakdar Gallery: Following an appearance in the 2022 Venice Biennale, the Chilean-born artist had a traveling survey that recently visited the Institute of Contemporary Art Los Angeles.
- Elijah Wheat Showroom to Open New Location in Beacon, New York: The inaugural exhibition, featuring artist E. E. Kono, will go on view in June.
- Mariane Ibrahim Now Represents Leasho Johnson: The artist has a large-scale diptych in a show about dance, dancehall, and reggaeton at the Museum of Contemporary Art Chicago.
- Denniston Hill Launches 2026 Residency Season with 30 Artist: The cohort includes Alex Dimitrov, Caroline Monnet, Ligia Lewis, Maori Karmael Holmes, and Sky Hopinka. Denniston Hill is participating in the Venice Biennale next week.
- Minneapolis Institute of Art to Receive Restoration Funding from TEFAF:The funding will support the conservation of The Meeting of Dante and Virgil, a monumental 16th-century Italian tapestry, and the only early Medicean tapestry in a public collection outside Italy.
- Charlie White Appointed Dean of Sam Fox School: He succeeds CarmonColangelo, and will begin in his new role July 1.
- Jesús Hilario-Reyes and Tichacoco are the Inaugural Recipients of the Clemente Center’s Van Lier Fellowship: The residency supports two New York–based visual artists between the ages of 18 and 30, providing them with resources including studio space and a $20,000 stipend.
The Big Number
$3 M.: That’s the amount a whistleblower claims is missing from the Palm Springs Art Museum’s investment account. As ARTnews reported earlier today, the wider complaint alleges financial mismanagement, improper fund transfers, and governance failures now under investigation. It follows years of alleged accounting maneuvers, including the reclassification of restricted funds and the use of art-sale proceeds to plug budget gaps, raising the specter of legal scrutiny and even potential bankruptcy.
Read This.
Robin Givhan has an essay in the New York Times on Derrick Adams that starts with his bright paintings of Black leisure and ends somewhere much heavier. With the artist’s work now being surveyed by the Institute of Contemporary Art Boston, she looks at scenes of people floating in pools, sitting at barbecues, or simply passing time and asks what it means to picture that kind of ordinary life right now, when even routine moments can feel tense or exposed. The piece moves through recent examples of violence and scrutiny in everyday settings to show how the banal has started to disappear, especially for Black Americans.— Daniel Cassady, Art Business Reporter
