Moscow’s Garage museum announces programming for new home

Contemporary art space founded by Dasha Zhukova is due to open in June 2015

Published online: 17 September 2014

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Prada Marfa saved

The installation by Elmgreen & Dragset has been turned into a single-work museum

Published online: 16 September 2014

Manchester gallery's opening delayed until early 2015

The £15m expansion of the Whitworth’s historic building is taking longer than expected

Published online: 15 September 2014

Georgia O’Keeffe Museum to sell three paintings to fund future acquisitions

Work that hung in the White House estimated to bring in at least $10m

Published online: 12 September 2014

Scythian gold returned to Kiev

But works from Crimean museums remain in Amsterdam pending judge’s ruling

Published online: 11 September 2014

The Brooklyn Museum’s outgoing director on connecting with his community

Arnold Lehman, who this week announced that he will retire in 2015, looks back on 17 years at the helm of the "activist" encyclopaedic museum

Published online: 10 September 2014


Animal Farm meets Alice Walton’s museum

If you go down to the Crystal Bridges Museum of American Art in a fortnight’s time, you’ll be able to try out as an understudy for a...

Blenheim’s birthday gift to Ai

As Ai Weiwei celebrates his birthday in China today, the Blenheim Art Foundation has announced the artist’s largest UK retrospective to...

Hatha in the Hamptons

On Wednesday, a group of very lucky yoga lovers got to get low with Rob Lowe at the Parrish Art Museum in Water Mill, New York. The “West...


Washing away the varnish

The Art Institute of Chicago bought Gustave Caillebotte’s 1877 painting Paris Street; Rainy Day in 1964. Since then, it has become one of the museum’s most popular pictures. But well-known and well-loved works of art can still yield surprises. When the museum’s conservators cleaned the painting late last year, they found that beneath its varnish, Caillebotte’s technique was more complex than they had previously believed.