Pace, William Kentridge, “AlgaeBTQ+”

On June 4, when Pace announced that it would cut 50 artists from its roster and lay off 50 employees, CEO Marc Glimcher framed the decision as a response to a larger industry problem and a gallery model he deemed “unfixable.” Later that day, according to staff, Glimcher told employees during a surprise Zoom town hall that he took personal responsibility for the situation and acknowledged that the decisions that led Pace to this point were his own.

But workers inside the gallery say the cuts unfolded quickly and without clarity, affecting the most unprotected staff members — and among the impacted artists who knew what was coming, some questioned how the announcement was handled. | Valentina Di Liscia and Rebecca Schiffman

The Colombian-American painter discusses his new body of work, the complexity of queerness, and the reprieve of the analog. | Matt Stromberg

“I remember taking a plaid dress, tearing it up, and using it as paint rags,” the 83-year-old painter tells me in a knee-to-knee interview at her studio. | Mala Iqbal

Once a member of the Gay Liberation Front and Radicalesbians, the pathbreaking queer artist and educator continues to stir the pot. | Alexis Clements

“I came out as a lesbian before I came out as an Indigenous woman,” the Métis artist told Hyperallergic. | Rhea Nayyar

In an interview with Hyperallergic, the artist known for his “Flood Room” paintings compares his decades-long practice to “the need for food.” | AX Mina

In a guest essay for the New York Times, the former Art Basel global director presented a vision of a Brave New Art World that has little to do with art and those who make it. | Barbara Pollack

Democratic Congressman Jerry Nadler has led the fight to bring resale royalties to artists in the US. With his retirement, it could all go away. | Lauren van Haaften-Schick

The short film from the Strategic National Arts Alumni Project is based on a survey of over 2,000 postsecondary arts graduates across the US.

In new sculptures that vibrate with color and movement, the artist vivifies the stories of the girls who attempted to escape from a Louisville detention center in 1913. | Natalie Weis

“The Violet Hour” is a dreamy chronicle of fame, greed, and ambition, full of cartoonish personalities you’ve likely had the misfortune of encountering firsthand. | Alex Bowditch

A new documentary presents the artist as a perpetual voyager, generously highlighting her lesser-known work and combating myths about her relationship with Alfred Stieglitz. | Debra Brehmer

A compassionate new book explores how canine companions across Western art history break down the emotional boundaries between species. | Alisyn Amant

Let it be said, the studio is a safe space for stupidity. A space where impulses can be given the benefit of the doubt. | William Kentridge

The art extravaganza in New York’s Hudson Valley and Catskills is back with a retrospective of Betty Parsons, a tailgate-style exhibition, living sculptures, and more.

James Turrell’s luminous visions, Agnes Martin’s nonconformist heroism, Anicka Yi’s micro-organic experiments, and much more.

Blessedly, despite the corn sweat, the city’s gallery and museum scene is eager to provide fresh work for the Midwestern mind.

“His pursuit of knowledge knew no bounds, and he represented the very best of what might be considered the true collector’s spirit,” says artist Man Bartlett. | Paddy Johnson

“The Man Who Stole the Gods” author Matthew Campbell discusses Western collectors’ rapacious hunger for ancient Cambodian art and the sheer violence it took to satiate it. | Erin L. Thompson