The New York Times

The most thematically permissive fair in New York’s art schedule — where sofas compete with paintings and sculptures — brings up old questions about why we like objects.

The reopening of the Studio Museum in Harlem, after seven years of construction, comes with dazzling alumni and collection shows.

The museum’s most anticipated exhibit is the full 5,500 items from King Tutankhamen’s tomb. Egyptians say it’s time to experience their most precious antiquities at home.

“From a city that is supposed to be avant-garde, it’s a shame,” the sculpture’s 96-year-old artist said after the decision.

Sasha Suda was three years into her five-year contract when the museum’s board announced that she was being terminated for cause.

In a series of social media posts, the department used the artist’s paintings to promote the Trump administration’s anti-immigration agenda.

In a high-profile act of eco-activism, Tim Martin and a partner had smeared black and red paint on the case at the National Gallery of Art in 2023.

“The Mothership Connection” grew out of the artist Zak Ové’s fascination with “how masquerade had become a space for pivotally working towards Trinidad’s independence.”

With his father, Philip, he made idiosyncratic, often monumental bronze work influenced by ancient themes. But was it art or was it furniture?

The flushable sculpture, “America,” was made by Maurizio Cattelan, the artist whose banana taped to the wall sold for $6.2 million last year.

Zachary Small, culture reporter, takes us on a tour of his four favorite spooky artworks at The Metropolitan Museum of Art. You’re in for a scare: they include a decapitation platter and a sculpture of a rumored cannibal.