November 2016

Featuring the 2016 Power 100, original artwork by Trevor Paglen and essays on the history of artworld power, international collections and biennial fatigue


Inside this issue


The 2016 Power 100

The ranked list of this year's most influential people in the contemporary artworld, with profiles of each entry, including an extended profile for this year’s no.1: Hans Ulrich Obrist, plus accompanying features including:

Trevor Paglen: the American artist discusses exposing the invisible structures that governments use in order to control the public. Interview by Oliver Basciano. With a special project by the artist throughout the magazine and online.

A History of Power: in the art game there are five kinds of players. Here player number five – the writer – places himself alongside the artist, collector, dealer and curator. By Martin Gayford.

(Inter)national collections: With public funding in retreat, national museums are tapping private donors abroad. Thomas Forwood asks, how great an idea is that?

Biennial Burnout: While the number of international biennials continues to grow, the world lurches from one desperate crisis to the next. Joshua Decter thinks it’s time to consider the real values of art.

On the Couch: ArtReview hops onto its own couch for the first time to do some serious self-reflection on the whole Power 100 business in a session with an angry therapist.

Art Previewed

Martin Herbert’s pick of ten must-see exhibitions – in New York, Los Angeles, Lisbon, London, Innsbruck, Turin, Cuenca, Berlin and Liverpool.


Points of View – our writers on what’s happening in the artworld and beyond:

J.J. Charlesworth
on the anxiety of ‘The Rootless Guild’, in the second part of his investigation into the arrogance of the global artistic elite.

Women performing hysteria has a long and problematic history in art. But a series of recent works leave Laura McLean-Ferris wondering if this has become less problematic and more a reflection of our times.

It’s a dog’s life for artist and poet Heather Phillipson as she ponders poetics-politics and canine communication in the second of her diary columns.

Jonathan T.D. Neil on why TEFAF’s arrival in New York might herald the return of art ‘expertise’.

Jonathan Grossmalerman on the struggles involved in proving a painting you painted isn’t yours.

Great critics and their ideas: Eva Hesse on assholes and existentialists, interviewed by Matthew Collings.


The Strip: A new work by Carlos Zingaro, introduced by Paul Gravett.

A Curator Writes: ArtReview's gastrophile columnist I. Kurator on wanting to take over Nicholas Serota’s directorship of Tate, and the kind of power it might mean.