From a historical point of view, arts patronage has undergone a great change since the birth of the museum as an institution.

If you are in the center of Beijing and find yourself in an inconveniently narrow alleyway, flanked by low, gray-colored, traditional-style buildings, then you are in a hutong. 

One morning several years ago, Lee Wan had an epiphany while eating breakfast. Looking at the various generic packages of cereal, 

Six days—that is the longest Siah Armajani has been away from his studio in Minneapolis, where he has resided since immigrating to the United States in the early 1960s. 

For three years, Haus der Kunst director Okwui Enwezor, together with Katy Siegel and Ulrich Wilmes, conducted research on art produced in the two decades following the Second World War. 

The 29-year-old Chinese photographer Ren Hang enjoyed a busy, successful career with a full exhibition calendar before he committed suicide in Beijing in February 2017. 

Iranian sculptor Sahand Hesamiyan’s studio is legendary in the Tehran art world. “If you see only one studio in the capital,” one artist advised during my breakneck three-day visit, “this is it.”