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Brexit

Can the cultural self-harm of Brexit be limited?

Britain will pay a high price if its creative industries are ignored in negotiations to leave the European Union

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Louvre Abu Dhabi

Six opinions on the potential impact of Louvre Abu Dhabi

Leading cultural figures weigh in

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Artists

Why taking down Sam Durant’s Scaffold was the right thing to do

The director of the Walker Art Center in Minneapolis defends the decision to let the Dakota people claim the controversial sculpture

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Fake heritage for the fake news era

Damien Hirst’s exhibition in Venice this summer is part of a long tradition of counterfeiting history—but the UK artist has added a contemporary twist

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Museums

Now is the time for an Italian-American museum exchange programme

With Italy’s historic reform of its museums’ leadership at risk in the courts, what we need is a more collaboration not less

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Olafur Eliasson: ‘There is ultimately no space in which art cannot work’

An exclusive extract from a new book about the ideas and practice of Studio Olafur Eliasson places projects including Ice Watch, Green Light and Little Sun into a bigger context

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Creative workshop is just the job for Venice Biennale

Project helping migrants and refugees would be diminished if it was a sideshow

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Why try to fix the Turner Prize when it ain’t broke?

There is a downside to dropping the age limit of 50 for qualifying artists

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Letters to the editor, May 2017

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The healing power of great buildings comes at a price

Leading architects can help to revive a city’s image but cultural institutions need long-term support to shine brightly

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Positive news from Egypt

A former minister of antiquities’ statement that ancient artefacts legally exported should stay abroad is a welcome change in attitude

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Politics

What happens when the identity politics of the Left meet up with the racial isolation of the Right

The controversy over Dana Schutz's Open Casket is like a scene depicted in another of her paintings: a fight in an elevator with worn cables

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Remembering the ghost soldiers of the Somme

As an exhibition of photographs of Jeremy Deller’s project We’re Here Because We’re Here begins its tour of the UK, Jenny Waldman reflects on how this modern memorial caught the nation’s imagination

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News

Federal arts funding is on the White House’s hit list

If culture agencies dodge the fatal bullet, they should focus on collection-sharing and investment in bricks and mortar

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Russian art loans embargo was never about US immunity law

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Local collections should be nationalised to halt sell-offs

A stroke of a ministerial pen saved Liverpool’s collections 35 years ago—the same needs to happen again

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Zanzibar cathedral restoration shows past can unite rather than divide us

Project to repair Anglican building brought Muslims and Christians together