Mega-dealer Marc Glimcher interviews by artnet on the art gallery of the future (and why painting came roaring back in the 1980s)
I recently finished Thomasin Sleigh's second book, Women in the field, One and Two, which is set in 1950s London and wellington and hinges on two (fictional) Russian modernist paintings purchased by an external art consultant for New Zealand's National Art Gallery. That sent me back to Holly Walker's interview with Sleigh for The Pantograph Punch, published earlier this year.
Hyperallergic on a suite of forthcoming solo shows across the Tate galleries that focus on women artists (course correcting some of the criticism around male-dominated programming at the institution)
I often think that simply having a history of free entry places New Zealand's visual arts institutions so far ahead of the American curve: Museum of Contemporary Art Cleveland Will Become Free as Part of Inclusivity Initiative