THE 32nd SÃO PAULO BIENNIAL IS A POLITICALLY CORRECT MONOLOGUE THAT DOES NOT EVEN DARE TO TALK ABOUT POLITICS

DO NOT USE EXPEDIA! THEY WILL ONLY ROB YOUR MONEY!

A BLACK SCULPTOR DEMANDS YOUR ATTENTION, PLEASE (AT THE NATIONAL PORTRAIT GALLERY)

ARTIST JWAN JOSEF (RICKY MARTIN’S NEW BOYFRIEND) OPENLY PLAGIARISES TURNER PRIZE NOMINEE, ANGELA DE LA CRUZ

WANNA BE A TATE CURATOR? THINK TWICE…

MARK WALLINGER’S EXPLORATION OF THE SELF AT THE FREUD MUSEUM FALLS INTO ITS OWN TRAP

A COLLECTION VALUED IN THE BILLIONS OF DOLLARS IS HIDDEN IN IRAN

WHEN FORM SIMULTANEOUSLY ENACTS TRIBUTE TO AND CRITIQUE OF THE ACADEMY

REPRESENTING HOMOSEXUAL DIGNITY THROUGH AMPHIBIOUS PAINTING: BHUPEN KHAKAR AT TATE MODERN

TRUMPIRACE

AT TATE MODERN, TANYA BARSON MANAGES TO TURN GEORGIA O’KEEFFE INTO A DULL DOLL

THE FILM ‘HIERONYMUS BOSCH: TOUCHED BY THE DEVIL’ ARGUES THAT THERE ARE MORE THAN TWO HANDS BEHIND THE SIGNATURE

MARY HEILMANN SHOWS US WHAT EXCESSIVE CYNICISM CAN DO TO A SERIOUS ARTISTIC PROJECT IN HER WHITECHAPEL ART GALLERY RETROSPECTIVE

KEITH SONNIER PUTS DAN FLAVIN IN HIS PLACE AT THE WHITECHAPEL ART GALLERY

KAREN KILIMNIK’S LAZY OPPORTUNISM AT 303 GALLERY

CONTEMPORARY ART WORLD MITOMANIACS: THE MARINE TANGUY CASE

PAINTERLY EXPRESSION JOINS THE READY MADE, THE COLLAGE AND COLOUR AS IMAGE IN THE MODERNIST PANTHEON OF WORTHY ART

THE FERAL IN ALL OF US AS A WAY OF AVOIDING CHANGE (AND PERSONAL GROWTH): RYAN TRECARTIN IN ANDREA ROSEN

IN ‘BRUCE CONNER: IT’S ALL TRUE!’ (MOMA) AND ‘OROZCO, RIVERA, SIQUEIROS: THE PENDING EXHIBITION’ (MNBA BUENOS AIRES), CURATORS PUSH ART ASIDE TO HONOR THE FOUNDING FATHERS OF THEIR PROFESSION (AND SHOW MUSCLE)

WHAT’S THE POINT OF ARCHITECTURE IF WE SPEND MORE TIME IN BED AND LOOKING AT SCREENS THAN WALKING AROUND?

THE NEW TATE MODERN IS A TOTEM AIMED AT EXORCISING LONDON’S FEAR OF BECOMING IRRELEVANT

HOW TO MAKE ART WHEN TECHNIQUE SEEMS TO HAVE BEEN HIJACKED BY SOCIAL INCLUSION AS THE IDEOLOGY OF THE ‘POLITICAL CORRECT’ ART BUREAUCRACY

LOTS OF BAD ART AND EUROPEAN GUILT AT THIS YEAR’S MANIFIESTA IN ZURICH

ART AS ALCHEMY: THE LOST WORLD OF EDIBLE FESTIVALS

FROM A PICTORIAL POINT OF VIEW, GUILLERMO KUITCA’S HOMMAGE TO PINA BAUSCH AT HAUSER & WIRTH IS A DISASTER

IT IS NOT THE ROLE OF A MUSEUM TO GUARANTEE A DEMOCRATIC AND INCLUSIVE EDUCATION

FIASCO AT THE MASI ARTE E CULTURA IN LUGANO: HOW NOT TO CURATE A SHOW BASED ON A COLLECTION GATHERED AS IF GOOGLING THE WORD ‘NEWSPAPER’

WITH HIS DRONEPORT, NORMAN FOSTER CONFIRMS THE CRISIS OF ARCHITECTURE

A FILM THAT EXPLORES ART AS A TELEPHATIC FORM OF COMMUNICATION THROUGH TIME THAT ALLOWED A EUROPEAN IDENTITY TO BE CREATED

ALEX FARQUHARSON’S REASONS FOR THIS YEAR’S TURNER PRIZE SHORTLISTING SHOULD BE A MATTER OF CONCERN

‘I WORKED WITH MARINE TANGUY AND CAN CONFIRM THAT SHE IS TEXTBOOK SOCIOPATHIC’

THE COURTAULD CAN BE A VERY STUPID PLACE (TRUST US, WE KNOW!)

MARINE TANGUY, THE SOCIOPATHIC ART DEALER, HAS JUST ASKED VIMEO TO REMOVE MY VIDEO ABOUT HER AND ROD BARTON

YANA PEEL, WHOSE BROTHER IN LAW/TORY-GOV BACKER, POJU ZABLUDOWICZ WAS QUESTIONED UNDER OATH FOR TAX AVOIDANCE, IS NOW HEADING THE SERPENTINE

FORMER PLUS SIZE PORN MODEL AND CURRENT CURATOR PABLO LEON DE LA BARRA TURNS TO INTERIOR DECORATING AFTER HIS FLOPS AT GUGGENHEIM AND JUMEX

THE PANAMA PAPERS HAVE REVEALED THAT I WAS RIGHT AT STOPPING ART DEALING AFTER BEING INTRODUCED TO THE NAHMAD FAMILY BY A NY WEALTH MANAGER

ROD BARTON: TURNING THE HATRED OF ART INTO A BUSINESS

ZAHA HADID’S DEATH HAS GOT ALL THE MEDIA ATTENTION BUT ELLSWORTH KELLY IS THE ONE WHO IS GOING TO BE TRULY REMEMBERED

MARINE TANGUY: FAKING A POSH ACCENT TO CHAMPION FAKE ART

ROD BARTON & MARINE TANGUY: TWO YOUNG, FAR TOO AMBITIOUS AND ART-HATING LONDON GALLERISTS

DRIES VAN NOTEN: A CARPET BUENOS AIRES TO PARIS AND AN ARTIST I WORK WITH

ZAHA HADID, THE ARCHITECT WHOSE DESIGNS PROVOKED THE DEATH OF MANY MIGRANT WORKERS IN THE MIDDLE EAST IS DEAD

MARCELO BRODSKY, THE PHOTOGRAPHER WHO SOLD TO TATE MODERN A PICTURE OF ARGENTINE MISSING PEOPLE AS A ‘READY MADE’ AND WITHOUT THE FAMILIES’ CONSENT ESCORTED OBAMA TO THE NATIONAL MEMORIAL IN HIS STATE VISIT

PAINTINGS AS ALCHEMY IN XVI CENTURY PARMA

CORREGGIO & PARMEGIANINO AT THE SCUDERIE DEL QUIRINALE IN ROME AND THE SELF IMPOSED SOCIAL LIMITATIONS OF ART HISTORIANS IN A CONSERVATIVE SOCIETY

HOW ART CRITICISM MIGHT END UP RESCUING LITERARY CRITICISM?

YOUSSEF NABIL’S FETICHISING AESTHETICS MAKES SALMA HAYEK ANNOYINGLY UNATTRACTIVE IN DUBAI

YOUSSEF NABIL’S SHOW IN DUBAI SPARKS FURTHER DOUBTS ABOUT SO CALLED ‘MIDDLE EASTERN ART’

HOT MIGRANTS! SO WRONG BUT BECAUSE OF THAT…SO SEXY!

BORDERLINE? YOU THINK YOU ARE GOING TO LOSE YOUR MIND? I THINK YOU DID IT!