In 2006, Mitchell Algus Gallery in New York City presented an exhibition that traced the Philippine roots of minimalism through two painters: Mario Yrisarry, who was born in Manila in 1933, and Leo Valledor, born to Filipino parents in San Francisco in 1936. 

Throughout 2019, The Point explores new models for operating in the art market.

In March, news broke that the Singapore Art Museum (SAM) had appointed Eugene Tan as its director—a position that he would hold concurrently with his directorship at the National Gallery Singapore (NGS), making him the leader of the country’s two major public art institutions. 

“If artists can work with technology, then why can’t curators?” asked Long Xinru, when we met in a coffee shop close to her workplace, the Central Academy of Fine Arts (CAFA) in Beijing. Long, who is both an artist and curator, is currently working on a number of projects focused on the relationship between art, science and technology. 

A horrifying deluge of oil-black liquid courses through narrow stone streets; it pours into the sacred interior of Bethlehem’s Church of the Nativity. 

The ominously titled “They Live,” referencing the eponymous 1988 cult alien-invasion film, was Huma Bhabha’s largest survey to date, showcasing the Pakistani-American artist’s three-dimensional works, photography, and drawings from the past two decades. 

There was a lofty goal behind “The Allure of Matter: Material Art from China” at the Los Angeles County Museum of Art.