Tala Madani’s new paintings and animations turn cutting, erasure and reconstruction into a language of power. Using fresh artist testimony alongside the exhibition material, we examine why the work is funniest when control starts to fail.

The Whitney’s first Lichtenstein retrospective in New York in more than thirty years reunites his landmark 1962 Castelli debut and follows the artist across six decades. For collectors, it is a timely chance to look beyond the market’s early-Pop hierarchy and reconsider the full intelligence of the oeuvre.

Francesca Thyssen-Bornemisza and her heirs are transferring 186 TBA21 works into Spanish public ownership and lending 179 more. The deeper story is how four generations of one collecting family have repeatedly redefined what legacy can mean.

Ahead of the global premiere of William Kentridge’s twelfth Drawings for Projection film at Goodman Gallery London, we look at why charcoal, erasure and revision remain central to the artist — and what collectors should understand across drawings, prints, film and sculpture.

Frieze Sculpture 2026 turns The Regent’s Park into a live test of scale, material, siting and weather. For collectors, the strongest lesson is not which work 'wins' — but what outdoor presentation reveals that the white cube can hide.

Lucio Fontana’s slash became one of post-war art’s most recognisable gestures. A major Hong Kong exhibition restores the holes, shaped canvases, bronzes and spatial thinking that make one cut very different from another.