For many, many reasons, it has been several months since we have done one of our Art Angle chat-casts, where we assemble writers to talk about a few different news stories on the site. But it's September, and we're finally back at it.
Today we'll be talking about three topics:
First, here in New York, the fall art season kicked off with literally hundreds of gallery openings, followed by a bunch of fairs this week. The fall openings are always an event. This year, they're even more closely scrutinized, given how uncertain business has felt behind the scenes. We'll talk about highlights and observations from the galleries.
Second, on the other side of the country, in Los Angeles, the Lucas Museum of Narrative Art has <a href="https://news.artnet.com/art-world/lucas-museum-narrative-art-opens-2806326">finally debuted</a>. The brainchild of Star Wars maestro George Lucas and his wife Mellody Hobson, the long-in-the-works, billion-dollar institution has its own quirky vision of art. We'll talk about what that is and whether it works.
And finally, we'll talk about developments in the truly epic divorce of Libbie and David Mugrabi, which touches on hundreds of millions, if not billions, of dollars of art. I don't know if we'll even get to all the details, but the story involves a very important Jean-Michel Basquiat painting, allegations of someone hiring a Russian hitman, and a dog named Botox.

For many, many reasons, it has been several months since we have done one of our Art Angle chat-casts, where we assemble writers to talk about a few different news stories on the site. But it's September, and we're finally back at it. Today we'll be talking about three topics: First, here in New York, the fall art season kicked off with literally hundreds of gallery openings, followed by a bunch of fairs this week. The fall openings are always an event. This year, they're even more closely scrutinized, given how uncertain business has felt behind the scenes. We'll talk about highlights and observations from the galleries. Second, on the other side of the country, in Los Angeles, the Lucas Museum of Narrative Art has finally debuted. The brainchild of Star Wars maestro George Lucas and his wife Mellody Hobson, the long-in-the-works, billion-dollar institution has its own quirky vision of art. We'll talk about what that is and whether it works. And finally, we'll talk about developments in the truly epic divorce of Libbie and David Mugrabi, which touches on hundreds of millions, if not billions, of dollars of art. I don't know if we'll even get to all the details, but the story involves a very important Jean-Michel Basquiat painting, allegations of someone hiring a Russian hitman, and a dog named Botox.

For many, many reasons, it has been several months since we have done one of our Art Angle chat-casts, where we assemble writers to talk about a few different news stories on the site. But it's September, and we're finally back at it.
Today we'll be talking about three topics:
First, here in New York, the fall art season kicked off with literally hundreds of gallery openings, followed by a bunch of fairs this week. The fall openings are always an event. This year, they're even more closely scrutinized, given how uncertain business has felt behind the scenes. We'll talk about highlights and observations from the galleries.
Second, on the other side of the country, in Los Angeles, the Lucas Museum of Narrative Art has <a href="https://news.artnet.com/art-world/lucas-museum-narrative-art-opens-2806326" rel="noopener noreferrer">finally debuted</a>. The brainchild of Star Wars maestro George Lucas and his wife Mellody Hobson, the long-in-the-works, billion-dollar institution has its own quirky vision of art. We'll talk about what that is and whether it works.
And finally, we'll talk about developments in the truly epic divorce of Libbie and David Mugrabi, which touches on hundreds of millions, if not billions, of dollars of art. I don't know if we'll even get to all the details, but the story involves a very important Jean-Michel Basquiat painting, allegations of someone hiring a Russian hitman, and a dog named Botox.

NYC Gallery Blitz, the Lucas Museum Arrives, a Messy Art Divorce

The humble wall label at an art exhibition has a funny status. It feels, on the one hand, like a side note or an afterthought. On the other, it is a first point of contact and literal guide for a visitor looking to know more.
There is an entire undersung discipline, Visitor Studies, which has put a lot of time into thinking about how museums communicate. And yet, even so, some of the most prestigious exhibitions in the world are crawling with texts that I can barely understand. As a matter of fact, I’ve griped so much about bad text at art <a href="https://news.artnet.com/art-world/a-i-summaries-venice-architecture-biennale-reply-2656595">biennials</a> and shows that I try not to do it anymore, just to avoid repeating myself. But recently, I decided I would get it out of my system for good and be constructive and <a href="https://news.artnet.com/art-world/museum-wall-labels-2804505">write an essay</a> about where I think these texts go wrong and what I think works.
Katherine Whitney thinks about museum texts professionally, she has worked with a number of museums and with Beverly Serrell on the 2024 edition of Serrell’s <a href="https://www.bloomsbury.com/us/exhibit-labels-9798216329954/">Exhibit Labels: An Interpretive Approach</a>, a standard resource on this subject.
So, let’s talk about texts. This is a nerdy topic, maybe, but it’s also an essential topic, one that helps clear your mind about what you want from a museum in the first place. Unlike a lot of problems facing art right now, the problem of bad texts is one that can be fixed.

The humble wall label at an art exhibition has a funny status. It feels, on the one hand, like a side note or an afterthought. On the other, it is a first point of contact and literal guide for a visitor looking to know more. There is an entire undersung discipline, Visitor Studies, which has put a lot of time into thinking about how museums communicate. And yet, even so, some of the most prestigious exhibitions in the world are crawling with texts that I can barely understand. As a matter of fact, I’ve griped so much about bad text at art biennials and shows that I try not to do it anymore, just to avoid repeating myself. But recently, I decided I would get it out of my system for good and be constructive and write an essay about where I think these texts go wrong and what I think works. Katherine Whitney thinks about museum texts professionally, she has worked with a number of museums and with Beverly Serrell on the 2024 edition of Serrell’s Exhibit Labels: An Interpretive Approach, a standard resource on this subject. So, let’s talk about texts. This is a nerdy topic, maybe, but it’s also an essential topic, one that helps clear your mind about what you want from a museum in the first place. Unlike a lot of problems facing art right now, the problem of bad texts is one that can be fixed.

The humble wall label at an art exhibition has a funny status. It feels, on the one hand, like a side note or an afterthought. On the other, it is a first point of contact and literal guide for a visitor looking to know more.
There is an entire undersung discipline, Visitor Studies, which has put a lot of time into thinking about how museums communicate. And yet, even so, some of the most prestigious exhibitions in the world are crawling with texts that I can barely understand. As a matter of fact, I’ve griped so much about bad text at art&nbsp;<a href="https://news.artnet.com/art-world/a-i-summaries-venice-architecture-biennale-reply-2656595" rel="noopener noreferrer">biennials</a>&nbsp;and shows that I try not to do it anymore, just to avoid repeating myself. But recently, I decided I would get it out of my system for good and be constructive and&nbsp;<a href="https://news.artnet.com/art-world/museum-wall-labels-2804505" rel="noopener noreferrer">write an essay</a>&nbsp;about where I think these texts go wrong and what I think works.
Katherine Whitney thinks about museum texts professionally, she has worked with a number of museums and with&nbsp;Beverly Serrell&nbsp;on the 2024 edition of Serrell’s&nbsp;<a href="https://www.bloomsbury.com/us/exhibit-labels-9798216329954/" rel="noopener noreferrer">Exhibit Labels: An Interpretive Approach</a>, a standard resource on this subject.
So, let’s talk about texts. This is a nerdy topic, maybe, but it’s also an essential topic, one that helps clear your mind about what you want from a museum in the first place. Unlike a lot of problems facing art right now, the problem of bad texts is one that can be fixed.

Why Are Museum Wall Texts So Bad?

This is a re-air of my interview with the artist Arthur Jafa. It came out earlier in the year, but with his much-anticipated career retrospective, Arthur Jafa, I Am Tony, now about to open at the New Museum in New York. It's very much worth another listen.
Jafa is probably the most revered artist of the last decade. Born in 1960, in Tupelo, Mississippi, he came up through the world of cinema. But Jafa also found his way into the art world with his <a href="https://news.artnet.com/art-world/arthur-jafas-new-film-aghdra-signals-an-exploration-of-the-abstract-for-the-artist-2031635">difficult video work</a> and strange objects. In art, his reputation went vertical in 2016 with <a href="https://news.artnet.com/art-world/arthur-jafa-live-stream-love-is-the-message-1889286">the video</a>, Love Is the Message, the Message Is Death. It is a collage of found footage from social media that included police violence against Black people and also moments of viral celebration and joy. It was both experimental and accessible, and drew huge crowds when it was first shown at Gavin Brown’s Enterprise in New York.
A follow-up film, called The White Album, won the Golden Lion for Best Artist as part of the main show of the Venice Biennale back in 2019. And this month, Jafa is back in Venice, this time in a two-person show called “<a href="https://www.fondazioneprada.org/project/helter-skelter-arthur-jafa-richard-prince/?lang=en">Helter Skelter,</a>” curated by Nancy Spector, pairing him with the famous artist Richard Prince, also known for using found and appropriated imagery to disorienting effect. That show opened alongside the Venice Biennale at the Prada Foundation, and was one of the few things during the opening weekend that everyone could agree was a must-see event.
Jafa has also curated a show currently on view at the Museum of Modern Art, called “<a href="https://www.moma.org/calendar/exhibitions/5825">Less Is Morbid,</a>” a deliberately packed display of his favorite art. He is also one of the winners of this year’s <a href="https://www.artbasel.com/stories/art-basel-awards-2026-laurie-anderson-arthur-jafa-barbara-kruger">Art Basel Award</a>, to be honored at that fair. In the middle of all this intense activity, Jafa sat down with Ben Davis to discuss his art, his view of art history, and what comes next.

This is a re-air of my interview with the artist Arthur Jafa. It came out earlier in the year, but with his much-anticipated career retrospective, Arthur Jafa, I Am Tony, now about to open at the New Museum in New York. It's very much worth another listen. Jafa is probably the most revered artist of the last decade. Born in 1960, in Tupelo, Mississippi, he came up through the world of cinema. But Jafa also found his way into the art world with his difficult video work and strange objects. In art, his reputation went vertical in 2016 with the video, Love Is the Message, the Message Is Death. It is a collage of found footage from social media that included police violence against Black people and also moments of viral celebration and joy. It was both experimental and accessible, and drew huge crowds when it was first shown at Gavin Brown’s Enterprise in New York. A follow-up film, called The White Album, won the Golden Lion for Best Artist as part of the main show of the Venice Biennale back in 2019. And this month, Jafa is back in Venice, this time in a two-person show called “Helter Skelter,” curated by Nancy Spector, pairing him with the famous artist Richard Prince, also known for using found and appropriated imagery to disorienting effect. That show opened alongside the Venice Biennale at the Prada Foundation, and was one of the few things during the opening weekend that everyone could agree was a must-see event. Jafa has also curated a show currently on view at the Museum of Modern Art, called “Less Is Morbid,” a deliberately packed display of his favorite art. He is also one of the winners of this year’s Art Basel Award, to be honored at that fair. In the middle of all this intense activity, Jafa sat down with Ben Davis to discuss his art, his view of art history, and what comes next.

This is a re-air of my interview with the artist Arthur Jafa. It came out earlier in the year, but with his much-anticipated career retrospective, Arthur Jafa, I Am Tony, now about to open at the New Museum in New York. It's very much worth another listen.
Jafa is probably the most revered artist of the last decade. Born in 1960, in Tupelo, Mississippi, he came up through the world of cinema. But Jafa also found his way into the art world with his <a href="https://news.artnet.com/art-world/arthur-jafas-new-film-aghdra-signals-an-exploration-of-the-abstract-for-the-artist-2031635" rel="noopener noreferrer">difficult video work</a> and strange objects. In art, his reputation went vertical in 2016 with <a href="https://news.artnet.com/art-world/arthur-jafa-live-stream-love-is-the-message-1889286" rel="noopener noreferrer">the video</a>, Love Is the Message, the Message Is Death. It is a collage of found footage from social media that included police violence against Black people and also moments of viral celebration and joy. It was both experimental and accessible, and drew huge crowds when it was first shown at Gavin Brown’s Enterprise in New York.
A follow-up film, called The White Album, won the Golden Lion for Best Artist as part of the main show of the Venice Biennale back in 2019. And this month, Jafa is back in Venice, this time in a two-person show called “<a href="https://www.fondazioneprada.org/project/helter-skelter-arthur-jafa-richard-prince/?lang=en" rel="noopener noreferrer">Helter Skelter,</a>” curated by Nancy Spector, pairing him with the famous artist Richard Prince, also known for using found and appropriated imagery to disorienting effect. That show opened alongside the Venice Biennale at the Prada Foundation, and was one of the few things during the opening weekend that everyone could agree was a must-see event.
Jafa has also curated a show currently on view at the Museum of Modern Art, called “<a href="https://www.moma.org/calendar/exhibitions/5825" rel="noopener noreferrer">Less Is Morbid,</a>” a deliberately packed display of his favorite art. He is also one of the winners of this year’s <a href="https://www.artbasel.com/stories/art-basel-awards-2026-laurie-anderson-arthur-jafa-barbara-kruger" rel="noopener noreferrer">Art Basel Award</a>, to be honored at that fair. In the middle of all this intense activity, Jafa sat down with Ben Davis to discuss his art, his view of art history, and what comes next.

Re-Air: Arthur Jafa's Radical Theory of Readymade Art

The art market is a famously opaque place, a world of handshake agreements and big-dollar private deals. How does it actually operate, and how has it changed over the centuries? In a richly researched new book titled<a href="https://gagosianshop.com/products/valentina-castellani-trading-beauty-art-market-histories-from-the-altar-to-the-gallery-book"> Trading Beauty: Art Market Histories from the Altar to the Gallery</a>, Valentina Castellani provides surprising answers, drawing on a long and storied career in the industry.
She's worked at Sotheby's and Gagosian, where she helped organize landmark exhibitions devoted to Pablo Picasso and Piero Manzoni. Now, she's an adjunct professor at New York University's Steinhardt School, where she teaches a class about the art market. Castellani's book, which is published by Gagosian, reveals how popes, aristocrats, plucky entrepreneurs, and brave true believers developed new ways of commissioning, funding, and selling art, from medieval frescoes to avant-garde conceptual pieces. It's a wild ride, and it spans some 1,500 years.
She joined Andrew Russeth on The Art Angle to delve into her findings. During our conversation, she uncorked stories about maverick dealers and patrons, the undersung role of women in this narrative, and the ways that artists have cannily enticed the market across time. Perhaps most importantly, she makes the case that the art market's relevance extends far beyond money.

The art market is a famously opaque place, a world of handshake agreements and big-dollar private deals. How does it actually operate, and how has it changed over the centuries? In a richly researched new book titled Trading Beauty: Art Market Histories from the Altar to the Gallery, Valentina Castellani provides surprising answers, drawing on a long and storied career in the industry. She's worked at Sotheby's and Gagosian, where she helped organize landmark exhibitions devoted to Pablo Picasso and Piero Manzoni. Now, she's an adjunct professor at New York University's Steinhardt School, where she teaches a class about the art market. Castellani's book, which is published by Gagosian, reveals how popes, aristocrats, plucky entrepreneurs, and brave true believers developed new ways of commissioning, funding, and selling art, from medieval frescoes to avant-garde conceptual pieces. It's a wild ride, and it spans some 1,500 years. She joined Andrew Russeth on The Art Angle to delve into her findings. During our conversation, she uncorked stories about maverick dealers and patrons, the undersung role of women in this narrative, and the ways that artists have cannily enticed the market across time. Perhaps most importantly, she makes the case that the art market's relevance extends far beyond money.

The art market is a famously opaque place, a world of handshake agreements and big-dollar private deals. How does it actually operate, and how has it changed over the centuries? In a richly researched new book titled<a href="https://gagosianshop.com/products/valentina-castellani-trading-beauty-art-market-histories-from-the-altar-to-the-gallery-book" rel="noopener noreferrer"> Trading Beauty: Art Market Histories from the Altar to the Gallery</a>, Valentina Castellani provides surprising answers, drawing on a long and storied career in the industry.
She's worked at Sotheby's and Gagosian, where she helped organize landmark exhibitions devoted to Pablo Picasso and Piero Manzoni. Now, she's an adjunct professor at New York University's Steinhardt School, where she teaches a class about the art market. Castellani's book, which is published by Gagosian, reveals how popes, aristocrats, plucky entrepreneurs, and brave true believers developed new ways of commissioning, funding, and selling art, from medieval frescoes to avant-garde conceptual pieces. It's a wild ride, and it spans some 1,500 years.
She joined Andrew Russeth on The Art Angle to delve into her findings. During our conversation, she uncorked stories about maverick dealers and patrons, the undersung role of women in this narrative, and the ways that artists have cannily enticed the market across time. Perhaps most importantly, she makes the case that the art market's relevance extends far beyond money.

An Untold History of the Art Market

We’re in the hot dog days of August, awaiting the new art season to kick off in September. In the meantime, I thought we might take the temperature of art in New York, looking at two big museum shows that opened earlier ruin the year, and that seek to highlight new voices from the city.
So, we will be talking about “<a href="https://www.momaps1.org/en/programs/702-greater-new-york-2026">Greater New York,</a>” the important show at MoMA PS1 in Queens that once every five years. This time out it has over 53 artists and collectives from the Big Apple, stretched across several floors of the museum, and is certainly worth checking out before it closes its several months run. It’s gotten generally very positive reviews. We’ll see what we think.
And the other show we’re going to be talking about is the “<a href="https://bronxmuseum.org/exhibition/seventh-aim-biennial/">Seventh AIM Biennial</a>” at the Bronx Museum of the Arts. It’s called “Forms of Connection” and features art by the last two classes of the museum’s Artist in the Marketplace <a href="https://bronxmuseum.org/art-artists/aim/">program</a>. That’s a year-long career accelerator and professional development seminar that takes on 14 artists based in New York each year, so its a good chance to see what styles and themes emerging artists are looking to now to be taken seriously.
There’s been quite a lot of angst about art in New York, and this is our chance to see how healthy it looks. And to see if there exciting new figures to watch emerging from the mix.
Ben Davis speaks with Danielle Jackson, the critic, writer, researcher, teacher, and returning Art Angle guest, who is working on an article about the AIM Biennial for Artnet News.

We’re in the hot dog days of August, awaiting the new art season to kick off in September. In the meantime, I thought we might take the temperature of art in New York, looking at two big museum shows that opened earlier ruin the year, and that seek to highlight new voices from the city. So, we will be talking about “Greater New York,” the important show at MoMA PS1 in Queens that once every five years. This time out it has over 53 artists and collectives from the Big Apple, stretched across several floors of the museum, and is certainly worth checking out before it closes its several months run. It’s gotten generally very positive reviews. We’ll see what we think. And the other show we’re going to be talking about is the “Seventh AIM Biennial” at the Bronx Museum of the Arts. It’s called “Forms of Connection” and features art by the last two classes of the museum’s Artist in the Marketplace program. That’s a year-long career accelerator and professional development seminar that takes on 14 artists based in New York each year, so its a good chance to see what styles and themes emerging artists are looking to now to be taken seriously. There’s been quite a lot of angst about art in New York, and this is our chance to see how healthy it looks. And to see if there exciting new figures to watch emerging from the mix. Ben Davis speaks with Danielle Jackson, the critic, writer, researcher, teacher, and returning Art Angle guest, who is working on an article about the AIM Biennial for Artnet News.

We’re in the hot dog days of August, awaiting the new art season to kick off in September. In the meantime, I thought we might take the temperature of art in New York, looking at two big museum shows that opened earlier ruin the year, and that seek to highlight new voices from the city.
So, we will be talking about “<a href="https://www.momaps1.org/en/programs/702-greater-new-york-2026" rel="noopener noreferrer">Greater New York,</a>” the important show at MoMA PS1 in Queens that once every five years. This time out it has over 53 artists and collectives from the Big Apple, stretched across several floors of the museum, and is certainly worth checking out before it closes its several months run. It’s gotten generally very positive reviews. We’ll see what we think.
And the other show we’re going to be talking about is the “<a href="https://bronxmuseum.org/exhibition/seventh-aim-biennial/" rel="noopener noreferrer">Seventh AIM Biennial</a>” at the Bronx Museum of the Arts. It’s called “Forms of Connection” and features art by the last two classes of the museum’s Artist in the Marketplace <a href="https://bronxmuseum.org/art-artists/aim/" rel="noopener noreferrer">program</a>. That’s a year-long career accelerator and professional development seminar that takes on 14 artists based in New York each year, so its a good chance to see what styles and themes emerging artists are looking to now to be taken seriously.
There’s been quite a lot of angst about art in New York, and this is our chance to see how healthy it looks. And to see if there exciting new figures to watch emerging from the mix.
Ben Davis speaks with Danielle Jackson, the critic, writer, researcher, teacher, and returning Art Angle guest, who is working on an article about the AIM Biennial for Artnet News.

What's New in New York Art?

To mark the 500th anniversary of Leonardo da Vinci's death, the Louvre <a href="https://news.artnet.com/exhibitions/leonardo-louvre-preview-1683961">pulled out all the stops</a> to present a blockbuster exhibition of some of the Old Master's greatest works, along with <a href="https://news.artnet.com/exhibitions/louvre-embraced-virtual-reality-leonardo-blockbuster-1686169">a few technological surprises</a> to help viewers see his contributions in a whole new way. But do these moves manage to contextualize Leonardo in our contemporary moment? And what role is—or isn't—<a href="https://news.artnet.com/exhibitions/salvator-mundi-louvre-1687114">played by Salvator Mundi</a>, the painting sold at Christie's for a record-annihilating $450.3 million before disappearing from view for almost two years? Associate editor Naomi Rea phones host Andrew Goldstein to discuss the masterpieces on view, the Louvre's attempt to take Leonardo into virtual reality, and the seemingly never-ending intrigue around Salvator Mundi.

To mark the 500th anniversary of Leonardo da Vinci's death, the Louvre pulled out all the stops to present a blockbuster exhibition of some of the Old Master's greatest works, along with a few technological surprises to help viewers see his contributions in a whole new way. But do these moves manage to contextualize Leonardo in our contemporary moment? And what role is—or isn't—played by Salvator Mundi, the painting sold at Christie's for a record-annihilating $450.3 million before disappearing from view for almost two years? Associate editor Naomi Rea phones host Andrew Goldstein to discuss the masterpieces on view, the Louvre's attempt to take Leonardo into virtual reality, and the seemingly never-ending intrigue around Salvator Mundi.

To mark the 500th anniversary of Leonardo da Vinci's death, the Louvre <a href="https://news.artnet.com/exhibitions/leonardo-louvre-preview-1683961" rel="noopener noreferrer">pulled out all the stops</a> to present a blockbuster exhibition of some of the Old Master's greatest works, along with <a href="https://news.artnet.com/exhibitions/louvre-embraced-virtual-reality-leonardo-blockbuster-1686169" rel="noopener noreferrer">a few technological surprises</a> to help viewers see his contributions in a whole new way. But do these moves manage to contextualize Leonardo in our contemporary moment? And what role is—or isn't—<a href="https://news.artnet.com/exhibitions/salvator-mundi-louvre-1687114" rel="noopener noreferrer">played by&nbsp;Salvator Mundi</a>, the painting sold at Christie's for a record-annihilating $450.3 million before disappearing from view for almost two years? Associate editor Naomi Rea phones host Andrew Goldstein to discuss the masterpieces on view, the Louvre's attempt to take Leonardo into virtual reality, and the seemingly never-ending intrigue around&nbsp;Salvator Mundi.

Why Leonardo da Vinci at the Louvre Matters

After over $400 million in renovations and a multiple-month closure to the public, the Museum of Modern Art is back. National art critic Ben Davis sits down with host Andrew Goldstein to address the curators' attempts to decenter the Western canon, what the changes might mean for MoMA's hordes of tourists, and whether a museum this hallowed can ever be a sanctuary from the larger cultural conversation.

After over $400 million in renovations and a multiple-month closure to the public, the Museum of Modern Art is back. National art critic Ben Davis sits down with host Andrew Goldstein to address the curators' attempts to decenter the Western canon, what the changes might mean for MoMA's hordes of tourists, and whether a museum this hallowed can ever be a sanctuary from the larger cultural conversation.

How MoMA Remade Itself for the Trump Era

A weekly podcast that brings the biggest stories in the art world down to earth. Go inside the newsroom of the art industry's most-read media outlet, Artnet News, for an in-depth view of what matters most in museums, the market, and much more.&nbsp;

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A weekly podcast that brings the biggest stories in the art world down to earth. Go inside the newsroom of the art industry's most-read media outlet, Artnet News, for an in-depth view of what matters most in museums, the market, and much more. 

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