Online exhibition
You Were Never Solid

Rirkrit Tiravanija
In Aliens We Trust

When Nature Needs a Render Engine
Jakob Kudsk Steensen's Beautiful Problem

Loops of Becoming
Philip Ullman's 'Preoperational Model'

Between the Car and the Forest:
aurèce vettier’s Resonant Dream

Four Worlds, 600 Works, One Unforgettable Journey:
Inside 'Exposition Générale'

Between Heritage and Emergence
The New Face of Paris Art Week

The War Within
Ukrainian Artists to the Front

Accumulation and Obsolescence
Lovid's Ever-Growing Electronic Graveyard

The View from Above:
Art Basel Paris's Avant-Garde Ascent

The Eternal Collapse
Julius von Bismarck's Kinetic Monuments

Sorry Sun
A Quiet Triumph of Poetic Resistance

Art Emergence @Artagon
The Paradox of Institutional Support

Estampa at OFFSCREEN
When Algorithms Dream of Swans

The Chapel and the Screen
OFFSCREEN Achieves Curatorial Perfection

The Silent Power of Witness
Malashchuk and Khimei's Masterful Restraint

New Ways of Seing Festival
Rethinking How We See

Matter, Memory, and Collapse:
The Prix Marcel Duchamp 2025

From Spam to Slop
The Exhibition We Deserve (Unfortunately)

Perfidious Albion Strikes Again
London Gallery Drops Deflated Frog on "Froggies" capital

French Theory Meets American Art
Too Late?

The Art World's Newest Mover
U-HAUL Gallery

"Les illusions retrouvées"
The confusion of Spectacle with Substance

Octobre Numérique
Where the Digital Dissolves Into Life Itself

A Clarion Call in a Riot of Colour
'Migrations and Climate'

Experimental Film Makes War's Cycle
Brutally Visible

In the Algocene
Autonomy is Indistinguishable from Servitude.

The Quiet Apocalypse
Louis-Paul Caron's Seductive Visions of Collapse