Read our feature interview of Joan Jonas, by fellow artist Liam Gillick. A retrospective of her work is on at Tate Modern through 5 August. ShareTweet
Meg Onli and Zack Winokur to curate 2028 Whitney BiennialArtReviewNewsartreview.com6 November 2026The Biennial is set to open in March 2028
Portraits in Philanthropy: Sam Seungho ParkArtReviewPhilanthropy TodayArtReview6 November 2026ArtReview speaks to Sam Seungho Park, the chairperson of the PARKSEOBO FOUNDATION
John Berger In The PitsJenny WuOpinionArtReview5 November 2026Jenny Wu looks at the acrobatics required when successful writers – from Berger to Émile Zola – seek to hold on to a connection with the working class
‘John Berger: From Life’ by Tom Overton, ReviewedSophie van Well GroeneveldBook Reviewsartreview.com5 November 2026This new readable biography does not shy from Berger’s contradictions abetted by his personal life
How to Be Certain in Uncertain TimesMartin HerbertBook ReviewsArtReview4 November 2026Natasha Lennard’s ‘On Un/Certainty’ asks what to make of the very notion of certainty, and whether the best course of action is refusal
The 10 Exhibitions to See in November 2026ArtReviewPreviewsartreview.com3 November 2026Our editors on the exhibitions they’re looking forward to around the world this month – from Lagos and London to Doha and Dubai
Hurtling Towards Our Own Destruction with Yuyan WangYuwen JiangReviewsartreview.com3 November 2026The artist's films are as much like a thought experiment as a wakeup call to a world we’re already living in
Further artists announced for Skulptur Projekte Münster 2027ArtReviewNewsartreview.com3 November 2026Skulptur Projekte Münster has revealed 13 additional participating artists and groups for its sixth edition
Converge 45 2026 Review: A Generative EncounterQingyuan DengReviewsArtReview2 November 2026The multivenue triennial leans into creating connection between locals and nonlocals in a rapidly transforming city
Has Time Been Unkind to Charles Ray’s Sculptures?Mitch SpeedFeaturesArtReview2 November 2026Decades ago, the artist’s conservative sculptures might have enjoyed the assumptions of postmodernism. What about now?
