New laws to protect minors from “harmful” website content are alarming artists and privacy groups

A 1988 amendment to the International Emergency Economic Powers Act, secured by Howard Berman, could stop art imports being hit by Trump's tariff hike

As the Getty wraps up its third edition of this initiative, it is time to address a persistent problem

While physically defending their country, Ukrainian artist’s work provides oxygen for urgent issues that demand attention and dialogue, writes Björn Geldhof, the artistic director of the PinchukArtCentre, Kyiv

As London’s National Gallery launches its “once-in-a-lifetime” rehang, Ben Luke asks: what is the right shade behind the art?

The Trump administration has taken aim at numerous arts bodies. Elizabeth Larison, the director of the Arts and Culture Advocacy Program at the National Coalition Against Censorship, argues they need to remain steadfast in their missions—and consider strategies for survival

A true critical consensus about the merits of different stages in an artist's journey is rarely possible

Long overlooked or stereotyped, African contemporary art is finally receiving global attention, writes Wim Pijbes, former director of the Rijksmuseum

Inaugurated in January by Mexican President Claudia Sheinbaum, the revamped yet unfinished galleries devoted to Mexico’s living Indigenous cultures reflect the dominant party’s agenda, not scholarship or a curatorial vision

The cost—financially and environmentally—of preserving works of art can be huge. Perhaps it is time to rethink how we look after them

The choreographer’s formal gestures and patterns make him crucial to contemporary performance art

Emma Shapiro on the UK government's secret order to break end-to-end encryption and allow access to all citizens’ Apple iCloud data

The London commercial gallery initially had big ambitions, but is now having more success feeding off the nearby Victoria & Albert Museum

The two artists, who are the focus of exhibitions opening in London in February, both died tragically young

The auction house's swift reversal of its recently overhauled premium structure is an admission of how wrongly it read the runes, writes Melanie Gerlis

This idea of exposing working-class school students only to the stories of working-class heroes, at the expense of “middle-class pursuits” such as museums, is misguided

In the wake of catastrophic wildfires, a new city will emerge

In viral essays and beyond, those who bemoan the dominance of identity politics in museums often reveal more of their own biases than of the art world's

The divisions within American society cannot be ignored, but let’s focus on where the country is united, and how the cultural sector can foster that unity

Recent episodes of censorship at two of the city’s leading art museums have laid bare the rifts between artists, institutions and their publics

The institution, which is about to welcome the first students to its new home, takes a refreshing and genuinely democratising approach to art education

When it comes to copyright infringement, establishing culpability and illegality in the age of artificial intelligence is murky

Institutions have a moral duty to better represent the persecuted Kurdish religious minority

Paying artists properly enables them not only to meet their needs equitably but also to flourish, fostering future savings and investments within their communities

The performing arts rally support by drawing attention to the state of jeopardy they are in—we could do with taking a leaf out of their book

The simplification of complex issues is enabled by weak or fearful cultural institutions and and strident self-righteousness

The country recognises the arts as a powerful driver of education and professional identity, a beacon of corporate social responsibility and as a valuable tool of soft power and diplomacy

New York City law now requires information about salary ranges in job descriptions—a welcome change for fellow art workers, say Tom Finkelpearl and Pablo Helguera

Artist John Munro on his pursuit of the Romantic picturesque in depictions of the climate catastrophe

The painting, sold last week at Sotheby's for $45.4m, was listed among workshop and studio pictures in Ronald Lightbown’s 1978 catalogue of Botticelli’s work, before being included as an autograph work in an exhibition at Frankfurt's Städel Museum in 2009. Here, in a pair of opinion pieces, two Renaissance experts give their contrasting views on its attribution