Today’s Editor’s Pick is 'TEFAF Maastricht, Known for Old Art, Faces the Future' by Scott Reyburn for @nytimes.com. TEFAF Maastricht remains relevant as collectors and museums turn back to old masters art in a cooling market.
Today’s Editor’s Pick is 'Russia Returns to Venice Biennale, in Latest Sign of a Cultural Comeback' by @alexmarshall81.bsky.social for @nytimes.com. This year, Russia will host a pavilion at the Venice Biennale for the first time since 2022.
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Today’s Editor’s Pick is 'First Looks at the 2026 Whitney Biennial: Politics, Memory, and Unexpected Emotion' by William Van Meter, Sarah Cascone, and Eileen Kinsella for @artnet.bsky.social. Artnet’s critics share their thoughts on the 82nd edition of the Whitney Biennial.
Today’s Editor’s Pick is 'Gulf Art Institutions Shutter as Iran Retaliates for US-Israeli Strikes' by Ashley Cheung for Art Asia Pacific. Iran has launched missiles and drones toward countries hosting US assets, leading cultural institutions to announce temporary closures.
Today’s Editor’s Pick is 'Show, Don’t Tell: Museums and the ‘War Against Woke' by Jonathan T.D. Neil for @artreview.bsky.social. U.S. museums are increasingly entangled in a political backlash against “wokeness” that threatens their missions and cultural authority.
Today’s Editor’s Pick is 'How Digital Placemaking Is Redefining the Modern Museum' by YuJune Park and Caspar Lam for Observer. Museums are rethinking strategy so digital engagement is the primary cultural entry point for audiences.
Today’s Editor’s Pick is 'What Will Define Art in 2026? Key Themes From the Big U.S. Shows' by @benadavis.bsky.social for @artnet.bsky.social. Davis examines the Whitney Biennial, Greater New York at MoMA PS1, and the Carnegie International to identify emerging themes for art this year.
Today’s Editor’s Pick is 'The New Geography of the Art World in the Age of Acceleration' by Paco Barragán for Observer. The art world is shifting quickly, with cities and regions that rapidly expand museums and art markets gaining greater global influence.
Exploring how the art history canon should be fundamentally rethought to address longstanding structural inequalities for women artists.
Today’s Editor’s Pick is 'Comment | Time for a rethink: women artists were never meant to merely be canon fodder' by @benlukeart.bsky.social for @theartnewspaper.bsky.social.
Today’s Editor’s Pick is 'In the Age of Prediction Markets, Everything Is a Bet. Will Art Be Next?' by Kate Brown for @artnet.bsky.social. How prediction markets could ensnare the art world by turning exhibitions and auction results into speculative bets.
A little behind-the-scenes of how we select our Editor's Pick each morning. If you're curious to learn more about the process, give it a read:
Today’s Editor’s Pick is 'Which Art World Power Players Are Facing Fallout From the Epstein Files?' by Sarah Cascone for @artnet.bsky.social. Newly released Epstein files have triggered scrutiny and resignations across the art world.
Artist Gabrielle Goliath’s bid to overturn the government’s cancellation of her Venice Biennale pavilion has been rejected, potentially leaving South Africa without representation.
Today’s Editor’s Pick is 'Court Dismisses Artist’s Challenge to South Africa’s Canceled Venice Biennale Show' by Jo Lawson-Tancred for @artnet.bsky.social.
Judge Cynthia M. Rufe orders the Trump administration to restore the exhibits examining slavery at the President’s House in Independence National Historical Park.
Today’s Editor’s Pick is 'Judge Orders Trump Administration to Reinstate Exhibits on Slavery' by @isafarfan.bsky.social for @hyperallergic.com.
Today’s Editor’s Pick is 'The Sticky Politics of Wall Texts' by @arunadsouza.bsky.social for @hyperallergic.com. After a visit to the 36th Bienal de São Paulo, D’Souza explores how wall text shapes the exhibition experience.
Today’s Editor’s Pick is 'Why Ultra-Contemporary Artists Are So Obsessed With Old Masters' by J. Cabelle Ahn for @artnet.bsky.social. Contemporary artists are reviving Old Master techniques to ground their work in art history amid changes in technology.
Today’s Editor’s Pick is 'Plan for Centre Pompidou in New Jersey is ‘dead’, local official' says by @bhsutton.bsky.social for @theartnewspaper.bsky.social. James Solomon, Mayor of Jersey City, claims that plans for an outpost of the Centre Pompidou have been cancelled.
Today’s Editor’s Pick is 'Art Problems: Should I Sell My Work to People Whose Politics I Hate?' by @paddyjohnson.bsky.social for @hyperallergic.com. Johnson argues that individual artists can find ways to sell their work without compromising their values.
Today’s Editor’s Pick is 'Can Artists Help Shape American Cities Again?' by @zacharyhsmall.bsky.social for @nytimes.com. Considering the relationship between artists and cities to determine how artists may play a role in revitalizing neighborhoods and lowering housing costs.
An A.I. model questions the attribution of two works to Jan van Eyck, sparking backlash from experts and renewed debate over using AI to authenticate Old Master paintings.
Today’s Editor’s Pick is 'Van Eyck Attribution Dispute Pits Art Historians Against A.I. Firm' by Jo Lawson-Tancred for @artnet.bsky.social.
Today’s Editor’s Pick is 'A Collector’s Guide to Non-Cash Museum Donations' by Daniel Grant for Observer. Museums are increasingly accepting non-cash donations like cryptocurrency, real estate, and stocks as a way to diversify fundraising.
Today’s Editor’s Pick is 'The World Has Too Much Art. What Will Happen to It?' by Adam Lindemann for @artnet.bsky.social. Adam Lindemann argues that although there is currently an oversupply of galleries, fairs, and art, the future art world will see a resurgence.
Today’s Editor’s Pick is 'Curated, Contextual, Slower and Strategic: A New Blueprint for Art Fairs Emerges in Doha' by Elisa Carollo for Observer. Art Basel Qatar tests a new curatorial fair model, prioritizing fewer exhibitors to foster more meaningful encounters.
observer.com/2026/02/sale...
Today’s Editor’s Pick is 'Epstein files show art market financialisation in full flow' by @joshspero.ft.com for @financialtimes.com. Spero investigates how the Epstein files reveal the art market’s deepening financialization, with artworks increasingly used as collateral in opaque, high-value loans.
