Twenty years after he first planned to open a museum in Paris, this year finally saw the inauguration of Pinault’s much-hyped £140m art palace in the Bourse de Commerce, an eighteenth-century architectural landmark redesigned by architect Tadao Ando. On lease from the city council, the Bourse is the new backdrop for rotating thematic displays drawing from the luxury-goods magnate’s more-than 3,000-piece art collection, with an emphasis on artists of colour such as David Hammons and Lynette Yiadom-Boakye, who have had little visibility in France. Programming at his Venice spaces continued with a much-lauded survey of Bruce Nauman at the Punta della Dogana, while the collection built on its offsite presence across France: organising a show at Le Fresnoy for artist-in-residence Enrique Ramírez and an exhibition featuring work by 57 artists from the collection in Rennes, and lending 19 works by Jeff Koons for a retrospective at Marseille’s MUCEM. Meanwhile Christie’s – which Pinault owns – hosted the first-ever NFT auction, hammering down Beeple’s Everydays (2021) at a record $69m.