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Newsletters

Curators

News about and interviews with the most interesting and influential curators in the art world today.

Black-and-white photograph of a Black woman being detained by two uniformed police officers on a city street.

The Nasher’s New Survey Treats Protest as an American Tradition

Highlighting blue-chip practitioners like Kara Walker, Carrie Mae Weems, the Guerrilla Girls and Chuck Close alongside less flashy names like Marielle Plaisir, Robert Colescott and Sam Durant, "Turn the volume up!" asserts that every voice still matters, no matter how insignificant and powerless many currently feel.
By Jordan Riefe
A woman with long curly dark hair, dressed in a black suit, stands with her hands in her pockets beside a large window in a bright white interior.

Toronto Biennial Curator Allison Glenn On Creating Connections and What Happens When Things Fall Apart

For the 2026 edition, 30 artists and collectives will explore the idea of rupture as a generative force, expanding the exhibition beyond Toronto via waterways, public spaces and cross-border collaborations.
By Elisa Carollo
A dim gallery installation washed in purple light features neon figures on the walls, small café tables and chairs and a microphone on a circular stage framed by dark curtains.

FEMSA Has Spent 50 Years Building a More Complete Record of Latin American Art

From its origins in a Dr. Atl donation to its current committee-driven acquisition process, the collection's curators describe a five-decade effort to trace a comprehensive history of Latin American art while keeping the collection itinerant by design.
By Elisa Carollo
A group of visitors stands around a large pile of dismantled wooden beams and boards installed on a lawn in an Alpine town, with yellow buildings and forested mountains rising behind them.

In Gherdëina, Curating a Biennale Around the Politics of the Garden

By Jelena Sofronijevic
An exterior view of MOCA in NYC, lit brightly from within, at dusk

MOCA Rising: How New York’s Chinese American Museum Is Redefining the American Canon

By Christa Terry
A woman with voluminous dark curls reclines in a black chair wearing layered outerwear, quilted sage-green pants and pale blue boots, beside a wooden table holding a glowing globe lamp and camera on brightly patterned rugs.

Storm Ascher On (Re)Building Black Arts Infrastructure in the Hamptons

By Elisa Carollo
A man with long gray hair and a woman with light brown hair sitting on steps outdoors, both wearing dark clothing and sunglasses, looking at the camera.

Jay and Ricki Blakesberg On Becoming Stewards of the Grateful Dead’s Visual History

By Dan Duray

Curator Samantha Katz’s Festival Blueprint for the Post-Spectatorship Era

By Christa Terry
A person with short dark curly hair wearing a bright yellow jacket over a black outfit stands on a rooftop terrace with a city street and brick buildings in the background, smiling at the camera.

With the Taipei Biennial Ahead, Cecilia Alemani Reflects On What Makes an Exhibition Feel Alive

By Dan Duray
A person with short curly hair wearing round dark sunglasses and a dark suit stands outdoors in front of blurred green foliage, looking slightly to the side.

Philippe Vergne Arrives at the Bass in Miami Ready to Curate Again

By Dan Duray
A blonde woman stands in front of an artwork

Curator Kate Kraczon Arrives at the Montclair Art Museum Ready to Get Radical

By Dan Duray

After the Clearing: Remembering Hilde Lynn Helphenstein

By Georges Berges

How Fashion Exhibitions Became Laboratories for Interdisciplinary Thinking

By Matthew Yokobosky
A split layout pairing a crowded gallery opening—visitors mingling around a large, colorful textile-like installation in an industrial space—with the same portrait of the woman on the right.

Curator Adriana Farietta On Why CONDUCTOR Is the Fair the Art World Needs Right Now

By Dan Duray
A gallery view shows paintings hung on red walls and a glass case containing small white bust sculptures, with a quote painted high on the wall above the display.

Valerie Mercer and the Long Work of Putting African American Art Where It Belongs

By Christa Terry
A museum gallery with a grid of protest photographs on one wall and a large image of a crowd holding a Puerto Rican flag, documenting the “Verano del 19” protests referenced in the exhibition.

In Dancehall and Reggaetón’s Evolution, MCA Chicago Charts a Global Awakening

By Elisa Carollo
A portrait of a short-haired man superimposed over a screenshot of a chatbot conversation

Lukas Amacher Is Building a Chatbot for the Art World

By Christa Terry
Portrait of a person with short bleached-blond hair, round black glasses, and a mustache, wearing a white T-shirt and chain necklace, standing on an urban street lined with older apartment buildings and balconies.

James Taylor-Foster On Curatorial Fluidity and Para Site’s Next Chapter

By Elisa Carollo
A man with short dark hair, wearing glasses and a navy sweater, stands with his arms crossed in front of a textured concrete wall, smiling at the camera.

Robert Wiesenberger On Thinking Relationally and Brooklyn’s Art World Ambitions

By Dan Duray
An image shows a man in a dark suit and a woman in a black dress standing together in a gallery space, with colorful Keith Haring paintings displayed on the wall behind them.

Curators Dieter Buchhart and Anna Karina Hofbauer Want to Reintroduce You to Keith Haring

By Dan Duray
A bearded man with white hair and glasses holds a microphone to his mouth

Francesco Bonami’s Case Against Trend-Chasing in the Museum Business

By Dan Duray
A female figure balances on a plank above a digitally rendered cityscape as monumental symbols loom in the distance in Lu Yang’s Doku the Flow.

In L.A., Julia Stoschek’s Art Collection Activates a Cinema Landmark

By Sarah Moroz
Visitors walk toward the entrance of the ESTE ARTE pavilion, a low wooden structure set amid landscaped greenery.

How ESTE ARTE Founder Laura Bardier Built an Art Market from Scratch

By Elisa Carollo
A side-by-side collage of two images: a portrait of a woman with dark hair in a dark dress smiling on the left and a city skyline showing a far view of SFMOMA on the right

Between MoAD and SFMOMA, Cornelia Stokes Charts a Unique Curatorial Path

By Dan Duray
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