The theft of four Antonello da Messina works from MuMe exposes a paradox at the heart of art crime: the more famous a masterpiece becomes, the harder it is to turn into money.

At Nottingham Contemporary, the gym has entered the museum — but the weights have been replaced by fragments of art history. Lithuanian artist Augustas Serapinas has transformed two of the institution’s largest gallery spaces into something caught between an art school, a sculpture studio and a functioning fitness centre. Physical Culture, his first institutional solo exhibition in England, brings together steel exercise machines, easels and sculptural casts that reference everything from student studies to some of Western art’s most familiar ideals of physical perfection. Among them are replicas derived from Michelangelo’s David and the Apollo Belvedere, figures that have spent centuries functioning as models of the idealised male body. Here, however, their authority is subjected to a rather different form of pressure. They become weights.

As Hauser & Wirth’s landmark exhibition of the Eileen Harris Norton Collection enters its final weekend in Los Angeles, ARTCOLLECTORNEWS looks at what one of America’s most influential collectors can teach us about building a collection with conviction.

Following her selection as the latest ARTCOLLECTORNEWS Open Call winner, Sophie-Yen Bretez discusses the ideas that underpin her practice, the relationship between material and memory, and the importance of creating work that invites sustained reflection. Rather than following trends, Bretez's work unfolds through careful observation and a nuanced engagement with contemporary experience. This exclusive interview offers collectors an opportunity to discover the artist behind the work and the thinking that continues to shape her evolving practice.

The most influential decisions shaping the future of art are rarely made in auction rooms or beneath the glare of international art fairs. They happen quietly, often behind the closed doors of museum acquisition committees, curatorial departments and scholarly research centres. As museums around the world rethink what they collect and why they collect it, they are doing something far more significant than expanding their collections—they are redefining art history itself.

Collectors with a passion for Impressionism have a compelling reason to look toward Normandy this summer. The Musée d'Art Moderne André Malraux (MuMa) in Le Havre has assembled approximately one hundred early works by Claude Monet, revealing the artist's remarkable development before the emergence of Impressionism.