In late-breaking news this year, Sprüth Magers confirmed that going forward it would be co-representing George Condo with Skarstedt, ending the American painter’s nearly six-year dalliance with Hauser & Wirth, and further cementing his 41-year relationship with the German dealers. Otherwise, Sprüth Magers frequently reaffirmed its reputation as a women-forward outfit this year, not only via solo shows across their Berlin, London, New York and Los Angeles spaces for, among others, Mire Lee, Lucy Dodd, Kara Walker, Rosemarie Trockel, Gretchen Bender, Kaari Upson, Nancy Holt and Andrea Zittel, but also by announcing representation of Gala Porras-Kim. Elsewhere Sprüth Magers-affiliated makers predictably continued to shine outside the gallery, from Anne Imhof’s sprawling opera DOOM: House of Hope at New York’s Park Avenue Armory, Porras-Kim at the Museum of Civilizations, Rome, to the once-again-touring Kraftwerk. Of course, galleries generally don’t represent musicians; trust the German-to-their-fingertips Sprüth Magers to do things differently.