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3, 2, 1: How We Were Drawn Into the Photo BoothRosalind JanaOpinionartreview.com20 August 2025A century after the first iteration, these public-private cameras have changed the way we think about photographs
‘Materialists’: A Good CorpsePhilippa SnowOpinionartreview.com20 August 2025Celine Song’s follow up to ‘Past Lives’ compares finding love under hyper-capitalism to working at a morgue
Marie-Christophe de Menil, heiress and patron, 1933–2025ArtReviewNewsartreview.com19 August 2025Inherited her passion for art – and wealth – from her parents
Space Racism: How the Right Captured Science FictionJamie SutcliffeOpinionartreview.com19 August 2025Before Musk and Thiel, a shadow history throws the often idealistic hopes of progressive science-fiction cultures into stark and unstable relief
Documenta 16 adds full artistic teamArtReviewDocumentaartreview.com19 August 2025Naomi Beckwith’s team is comprised entirely of women, a first in the quinquennial’s history
Milly Thompson’s Bacchanalia of Women at LeisureJennifer ThatcherReviewsArtReview18 August 2025The late artist’s solo work ‘scrambles in male shit for breath’
Doris Lockhart Saatchi, art collector, 1937–2025ArtReviewNewsartreview.com18 August 2025Cofounder of the Saatchi Gallery in London
Thailand Biennale announces 2025 artistsArtReviewNewsartreview.com18 August 2025‘Eternal [Kalpa]’ will focus on the sustainable relationship between humans and nature amid the challenges of coexistence
Yoshitomo Nara Is Not Just Being CuteTom DenmanReviewsArtReview18 August 2025The artist has for decades shown how children become contaminated by the adult world’s ills, but a new exhibition hushes the anguish they’re suffering
What Isn’t at the V&A StorehouseDan HicksOpinionartreview.com15 August 2025You can’t escape it: this is the same colonial museum we know, in a shiny new suit