Editors at 'Hyperallergic' have criticised the growing use of AI-generated writing in museum press releases, exhibition texts, and artist statements. This raises concerns about editorial integrity, creative labour, and the responsibility of cultural institutions to invest in original writing.
Thousands of racist souvenirs and household objects have been handed over to the MCA Sydney, as artist Tony Albert seeks to reclaim and transform imagery that has long perpetuated stereotypes of Aboriginal people.
A new exhibition at Cambridge's Fitzwilliam Museum brings Arts and Crafts pioneer, Kate Faulker, into focus, revealing her overlooked contributions to Morris & Co and the designs that helped shape the William Morris legacy.
Paris's new contemporary art centre, 'Large', opens on Île Seguin with an exhibition curated by Cecilia Alemani, bringing together historic works from the Renault Collection and new commissions exploring industry, labour, and the relationship between humans and machines.
'By The River' traces artist's connection to Dharug Country, through sculpture, painting, and surf culture, marking a historic first in the gallery's 155-year history.
Lebanese artist and composer, Tarek Atoui, transforms Tate Modern's Turbine Hall into an experimental orchestra of sculptural instruments, vibrating stones, and shifting sounds, inviting visitors to experience music through the entire body.
Students studying humanities and related arts disciplines will face tuition costs exceeding $54,000 in 2027, as the federal government delays reform for a university funding scheme it has already acknowledged has failed.
The Bayeux Tapestry arrived in London on loan from France. Greece says its intact return exposes why the same arrangement cannot resolve the decades-long dispute over the Parthenon Sculptures.
As 'Near at Hand' brings 11 contemporary artists to the Art Gallery of NSW, its ideas are also teaching professional learning, offering new ways to approach drawing in the classroom ahead of NSW syllabus changes in 2027
The Rijksmuseum and Museo Nacional del Prado have joined forces to reconsider the women who shaped Renaissance art, beginning with three Habsburg rulers whose influence as collectors, commissioners, and political leaders has long been underestimated.
Ai Weiwei's new Sydney installation 'Mushrooms' places 500 cast-iron combat helmets against the calm of Sydney Harbour. As the artist declares that "real art questions the existing order", the work raises a harder question about political art today.
Melbourne artist Jas Shalimar makes watercolours from a thousand fast decisions. Ahead of The Private Theatre at Mars Gallery (twelve self-portraits, one for each of Jung's archetypes) she talks of Beatrix Potter, an Arnott's chair hung from the ceiling, and trying on versions of herself.
In Venice, 'Tide of Returns' follows the remarkable journey of Indigenous Australian shell dolls to consider what repatriation means after cultural objects finally come home.
As the UK marks 25 years of universal free museum entry, the policy has proved its value beyond rising visitor numbers. It has established access to art, history, and culture as part of public education, open to anyone who walks through the door.
After a two-year boycott over the Brisbane Portrait Prize's acceptance of generative AI, several artists have returned in 2026, using portraiture, cultural knowledge, and ancestral integrity to contest the policy from inside the exhibition.
MoMA's 'Architects of Liberation' traces how modern architecture became entwined with independence, national identity, and political ambition across West Africa.
