Artists, Read the Fine Print

The insidiousness of artists' contacts, visitors will now judge the Venice Biennale, and Trump’s border crew damages 1,000-year-old Native etching.

“The art world runs on informality,” artist Damien Davis writes, “until informality stops serving the institution.” In today’s must-read piece, Davis takes on the many ways so-called “standard” contracts actually undermine artists’ power. The cost of pushing back feels higher than the risk of signing, he writes, and sometimes, you can’t afford to walk away.

Speaking of walking away: The latest twist in this year’s Venice Biennale, after the awards jury resigned last week, is that you are now its judge. There will be no Golden Lions, the event’s top prize; instead, ticket holders will vote on “Visitor Lions,” with awards announced when the show closes in November. Conveniently, Israel and Russia are eligible after the jury said it would ban them from consideration due to charges of crimes against humanity. Okay, little lion, let’s hear that roar. 

Lisa Yin Zhang, associate editor


Artists, read carefully before you sign. (illustration by Shari Flores/Hyperallergic)

What Artists Sign Away

Long consignment periods, moral rights waivers, and opaque “standard” contracts serve the institution more than the artist. | Damien Davis


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SMFA at Tufts Presents Passages, the 2026 MFA Thesis Exhibition

On view from May 5 to 17 in Medford, Massachusetts, this exhibition represents the graduating class and their journeys through worlds visited and imaged.

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News

The Golden Lion at the 59th Art Biennale (photo Felix Hörhager/picture alliance via Getty Images)
  • Venice Biennale scrapped the "Golden Lion" awards, stating that the public will vote on “Visitor Lions” instead.
  • Construction crews building President Trump’s hostile border wall damaged a portion of a Native American archeological site in Arizona estimated to be at least 1,000 years old.

From Our Critics

Diedrick Brackens, “Blood Compass”(2023) (photo Natasha Boas/Hyperallergic)

Diedrick Brackens’s Tapestries Beckon the Light of Freedom

In this Bay Area artist’s hands, weaving becomes a site of experimentation and refusal. | Natasha Boas


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Rising Up: Rocky and the Making of Monuments

Featuring works from antiquity to today, the exhibition at the Philadelphia Museum of Art explores the Rocky statue and its impact on the city’s culture, community, and public art.

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Guide

Flora Rebollo, “Fried” (2026) (photo Valentina Di Liscia/Hyperallergic)

15 Art Shows to See in NYC This May

Lynette Yiadom-Boakye captures quietude, Seydou Keïta documents a revolution, Renée Green compiles an autoethnography, and much more. | Hrag Vartanian, Valentina Di Liscia, Lisa Yin Zhang, John Yau, Jasmine Weber, Isa Farfan


Community

View of Gerardo Camargo's studio (photo Gerardo Camargo)

A View From the Easel with Gerardo Camargo

“I like to play with materials that have a history of manipulation.”


Member Comment

Don Dugal on Hakan Topal’s “The Death of the Art School”:

What a pithy and accurate analysis of the subversive results of arts administration of the last 40 years! Experience, integrity, insight and collegiality have been denigrated in favor of those skilled in bean-counting, CV stuffing and aggressive behavior. It is now possible that highly-paid arts administrators and jurors have no serious first hand experience in art manufacture.

Podcast From the Archive

“The Invisible Enemy Should Not Exist” by Michael Rakowitz in London’s Trafalgar Square

Michael Rakowitz Discusses Withdrawing from the 2019 Whitney Biennial, and His Leonard Cohen Problem

The artist shares his thoughts on museums, power, art, and ideology. | Hrag Vartanian


Opportunities This Month

Residencies, fellowships, grants, and open calls from the Bennett Prize, Oak Spring Garden Foundation, and more in our May 2026 list of opportunities for artists, writers, and art workers.