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27/08/2026

YAYOI KUSAMA (1929–2026)

She spent seventy years turning obsession into infinity.

From the Infinity Nets painted in a cold New York loft, to the pumpkin standing alone on a pier in Naoshima, to rooms where the self dissolves into dots, Kusama made repetition a language, and made the world learn it.
She painted until her final days.

Her passing, on 14 August in Tokyo at the age of 97, closes one of the most singular careers in modern and contemporary art. What she leaves behind does not feel finite.

• Yayoi Kusama, Infinity Mirror Room. Phalli’s Field, 1965
• Yayoi Kusama, Pumpkin, 2022, Naoshima, Japan. Tadasu Yamamoto
• Yayoi Kusama with Red Stripes and Blue Spots, 1965 — Credit Marianne Dommisse / 0-INSTITUTE, Artwork
• Yayoi Kusama, The Obliteration Room
• Yayoi Kusama, Infinity Mirrored Room

© YAYOI KUSAMA

18/08/2026

One hundred years after Monet’s death, the Musée des impressionnismes gives carte blanche to Daniel Buren.

Plantations, travaux in situ, 2026 : nearly a hundred elements deployed across the hill, the gardens, the meadow and the galleries. The 8.7 cm stripe, unchanged since 1965, meets the landscape that taught painting how to look at light.

Two artists, one question: how does a place change when you decide to look at it properly?

The market rarely prices in situ work.. it cannot be moved, only remembered. Which is precisely why it should be seen.

Until 1 November 2026.

Images: « Plantations, travaux in situ », Musée des impressionnismes Giverny, July 17th - November 1st 2026. Detail © DB-ADAGP Paris - Octave Bénard

17/08/2026

AP 👀 Inside the Bass House

A Frank Stella, Paul Rudolph, and one of the most disciplined private collections America has produced.

Fort Worth, early 1970s. Sid and Anne Bass (both 28) spent a year drafting the letter that convinced Paul Rudolph to build them a house. What he delivered became his largest residential commission: floating white steel planes, a 40-foot cantilever, split levels and skylights conceived from the outset as a hanging system.

The collection followed the same logic. Rothko, Stella, Agnes Martin, Ellsworth Kelly, Morris Louis, Calder.. assembled over roughly fifteen years and, for the most part, never moved once installed. Rudolph designed the dining table himself, mirrored and surfaced with subway grating; Warhol’s family portraits hang above it.

1. Dining table & chairs, Paul Rudolph & family portraits by Andy Warhol
2. Morris Louis, Gamma Upsilon (1960)
3. Itata, Frank Stella (1964)
4. Mark Rothko, No. 4 (Two Dominants) (1950–51)
5. Agnes Martin, Untitled #2 & Untitled #11 (1975)
6. Ellsworth Kelly, Blue Black Red (1964)
7. Bronze by Aristide Maillol, gardens by Zion & Page

📸Scott Frances / Otto - Martien Mulder, courtesy Christie's

14/08/2026

Yun Hyong-keun, Palazzo Fortuny, Venice, 2019.

« I still remember the stillness of those rooms: burnt umber and ultramarine answering the palazzo’s weathered walls, the painting and the place breathing as one. » AP

His work has now returned home. A retrospective is on view at PKM Gallery, Seoul, and the artist’s own house and studio are open to visit through early October.

© Laziz Hamani

05/08/2026

Sanford Biggers, Landscape Beneath Atlantis, 2025
Annie Morris, Stack 3 Cobalt Turquoise, 2026

Exhibition summer Chateau La Coste

RASHID, SHEREE AND FRIENDS
Galerie Richard rogers
5 July - 6 September 2026

Photos WE ARE CONTENT(S)
Curated by Rashid Johnson and shereehovsepian and a special thank to Georgina Cohen

Sarah Aibel, Better Together, 2026
Sarah Aibel
Idris Kahn, After a portrait with a beret
Idris Khan, OBE
Chloé Seibert, Breastplate 8, 2025

Tom Shannon
Drop, 2009
American artist and inventor Tom Shannon, born in 1947, uses his technical and scientific skills to create his artworks

Alexander Calder
Small Crinkly, 1976
It is one of the artist’s last stable mobiles, created in 1976, the year of his death

21/06/2026

Zero 10: Art Basel’s manifesto for the digital era.

Named after Malevich’s 0,10 (1915), the moment painting broke with its own century. A fitting reference: this is Art Basel staking its claim that digital art is no longer at the margins but central to where the market is moving.

Conceived and led by Eli Scheinman, co-curated this Basel edition with Trevor Paglen under the theme The Condition, five decades of instruction-based and computational work, from postwar pioneers to today’s generative practices.

On view: Rafael Lozano-Hemmer’s hypnotic Spiral Reflector, John Gerrard’s Western Flag and Flare, and works that treat the screen, the algorithm and the pixel as serious material.

The takeaway for collectors: a new canon is being written in real time, and Basel just made it official.

📍Zero 10, Art Basel 2026
eli_schein

18/06/2026

A painter who moves between canvas, design and architecture without losing anything on the way.

Collaborations with Hermès, Acqua di Parma and Monoprix. A pool in Normandy. A language that is entirely his own.

15/06/2026

Six fairs. Four museums. One method
Our Basel Field Guide ↓ Art Basel
Independent & strategic art advisory
Private walk-through or advisory session available on request

10/06/2026

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