Katya Pranitskaya

On Salone Raritas, the new collectible-design sector at the 64th Salone del Mobile, curated by Annalisa Rosso with booth architecture by Formafantasma. Twenty-five galleries, one long corridor, and a tonal shift.

Nomad St. Moritz 2026 at Villa Beaulieu, the renovated former Klinik Gut. A review of the fair's ninth Swiss edition, its softer register, and the galleries that made it work.

Art Basel Miami Beach 2025, reviewed. A Warhol Muhammad Ali at $18m, a $5.5m Richter in the first hour, and the first fair in two years that genuinely moved.

Art Basel Paris 2025 at the Grand Palais, reviewed. Mehretu at White Cube, Murakami's octopus on the Champ-de-Mars, and the fair's first edition that felt settled.

Frieze London 2025, reviewed. A single-work booth at Sadie Coles, the Focus section doing its job, and a fair that feels stabilised after three difficult years.

The Centre Pompidou closes on 22 September 2025 for a five-year renovation. A note from the plaza, the last public duty of a piazza-with-escalators.

Andrea Faraguna's Heatwave, the Kingdom of Bahrain's Golden Lion–winning pavilion at the 2025 Architecture Biennale, cooled its visitors by ten degrees with no power source beyond the building itself. A review.

Bilna'es at Sharjah Biennial 16 — Adam HajYahia's 'Speaking with the dead' turned a set of Al Qasimiyah classrooms into a listening room, anchored by a vinyl compilation drawing on the platform's Palestinian and international music catalogue.

Sharjah Biennial 16, to carry, reviewed. Five curators, 17 venues, almost 200 participants. Hoor Al Qasimi's five-curator model as a working method rather than a tagline.

Nomad St. Moritz 2025 at the former Klinik Gut, reviewed. Pergay tables in a patient dining room, a Neapolitan pop-up in the old hospital canteen, and a fair that used its building as the point.

Design Miami/ Paris 2024 at L'hôtel de Maisons, reviewed. Louis Vuitton's Campana debut, a million-euro Prouvé sale, and a room of Jean Touret that won the week.

Art Basel Paris's debut at the refurbished Grand Palais. Under a glass nave, with 195 galleries and a Premise sector that mattered, Paris finally had a fair that belonged to it.

Manifesta 15 Barcelona Metropolitana, spread across twelve municipalities, reviewed. The venues did most of the heavy lifting. A few rooms addressed Catalonia and those were the ones worth the trip.

The Brussels gallery Objects with Narratives debuted at Design Miami/ Basel with a solo show by Ben Storms. The floor of the booth was under a shallow layer of water. Everything seemed to be floating. Most of it wasn't.

The Holy See's pavilion at the 60th Biennale, With My Eyes, was staged inside the Casa di Reclusione Femminile on Giudecca. Pope Francis came. So did a small and necessary collapse of the usual critical distance.

Notes from the 60th Venice Biennale. Mataaho on the ceiling, Archie Moore in chalk, the Holy See inside a prison, and the long argument about whether "foreigner" can carry this much weight.

Art Dubai 2024 at Madinat Jumeirah, reviewed. Strong Modern section, growing Asian collector base, and an argument about whether Dubai is now a centre rather than a satellite.

Tosin Oshinowo's second Sharjah Architecture Triennial, The Beauty of Impermanence, reviewed. Salt churches, pastoralist geology, and a serious argument about whose buildings get called architecture.

DAAR, Sandi Hilal and Alessandro Petti, won the 2023 Venice Architecture Biennale's Golden Lion for the best participant. A review of their room and the fifteen-year practice behind it.

Lesley Lokko's Laboratory of the Future at the 18th Venice Architecture Biennale, reviewed. Brazil's Golden Lion, DAAR's decolonising practice, and a show whose real project was elsewhere.