The New Museum in New York opens its new extension, designed by Shohei Shigematsu and Rem Koolhaas of the architectural practice OMA, this week. Ben Luke talks to Massimiliano Gioni, the New Museum’s artistic director, and the co-curator of the inaugural exhibition in the new building, called New Humans: Memories of the Future. We then speak to one of The Art Newspaper’s editors-at-large, Georgina Adam, who has just published a new book NextGen Collectors and the Art Market. And this episode’s Work of the Week is an example of a Wardian Case, a wooden box with a glass cover developed by the physician Nathaniel Bagshaw Ward in the early 1830s. This example is part of the exhibition In Bloom: How Plants Changed Our World, at the Ashmolean Museum in Oxford. Ben speaks to Shailendra Bhandare, co-curator of the exhibition.

The New Museum and New Humans: Memories of the Future open on 21 March.

NextGen Collectors and the Art Market, by Georgina Adam, Lund Humphries, £19.99

In Bloom: How Plants Changed Our World, Ashmolean Museum, Oxford, 19 March-16 August

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As the war in the Middle East continues to rage, Ben Luke speaks to The Art Newspaper’s reporter on Iran and other countries in the region, Sarvy Geranpayeh, about the response of cultural communities in Iran and Lebanon, and the damage to heritage in both countries. The latest edition of the Art Basel and UBS Global Art Market Report has been published and shows that the market has returned to growth. But the details show a more complicated story, which Ben explores with the writer of the report, Clare McAndrew. And this episode’s Work of the Week is VOLUME (III – White Bay Power Station, Australia) a new work by the Indigenous American artist Cannupa Hanska Luger. This sculpture and sound installation featuring seven ceramic dingo skulls is part of the latest edition of the Sydney Biennale in Australia, and has gained an unintended topicality due to a recent tragedy involving the death of a backpacker in Queensland. Ben speaks to our reporter in Australia, Elizabeth Fortescue, about the work and the wider context.

Rememory: the 25th Biennale of Sydney, 14 March-14 June

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As the war against Iran instigated last week by Israel and the United States continues to spread through the Middle East, we explore how it affects tourism in the Arabian Gulf, of which art and culture more generally have been a cornerstone. One of The Art Newspaper’s Middle East correspondents, Melissa Gronlund, joins Ben Luke to discuss the latest news. The 82nd biennial at the Whitney Museum of American Art in New York opens this weekend and our editor-in-chief in the Americas, Ben Sutton, and Elena Goukassian, our senior editor of museums and heritage, tell us what they thought of it. And this episode’s Work of the Week is the Vision of Zacharias in the Temple (1633) by Rembrandt. Researchers at the Rijksmuseum in Amsterdam have demonstrated that the painting, which had previously been documented as a copy of a lost original, is in fact an authentic work by the Dutch master. We speak to Jonathan Bikker, curator of 17th-century Dutch paintings, who was part of the team that secured the attribution to Rembrandt. The picture is now on view to the public at the Rijksmuseum.

Whitney Biennial 2026, Whitney Museum of American Art, New York, 8 March-23 August

Rembrandt’s The Vision of Zacharias in the Temple is now on view at the Rijksmuseum, Amsterdam.

Save up to 50% on The Art Newspaper’s annual print and digital package with a new limited-time offer. Subscribe by 19 March to receive the April edition including our annual Visitor Figures guide and a special report on EXPO Chicago. In May, don’t miss our Venice Biennale Guide and map to must-see exhibitions and pavilions.

www.theartnewspaper.com/subscriptions-MARCH50?promocode=MARCH50&utm_source=podcast&utm_campaign=MARCH50

Hosted on Acast. See acast.com/privacy for more information.