If one were to liken the marquee New York auctions in May to the homecoming game between rival high schools, then Art Basel is certainly the art world’s prom. Next week, 287 galleries from around the world, including the four biggest, will jet to Switzerland, closely followed by the traveling circus of collectors, art advisers, and, of course, journalists.

And, while rumors are flying that the newly christened Art Basel Paris may soon overshadow the Swiss flagship fair, plenty of dealers are pushing back. As one dealer told ARTnews, the fair in Basel is still where galleries show their best work, and the collectors—even if they prefer Paris—will follow. That sentiment was echoed by Tornabuoni gallery coordinator Ursula Casamonti, who told ARTnews the gallery saved its best—six works by proto-Surrealist Giorgio de Chirico—for Art Basel.

“I hope all the galleries do the same,” she said. “I’m worried that the people around the world have the idea that Paris+ will be better than Basel.”

ARTnews reached out to art dealers with reputations for bringing the most select, choice, and rare secondary market works and asked: what’s on the menu? Bon appétit. Or perhaps, more appropriately, En Guete.

Hauser & Wirth

The Swiss gallery giant is bringing several big-ticket works to its home art fair, none perhaps more exciting than Philip Guston’s Orders, a defining late-era work completed two years before his death in 1980. Priced at $10 million and depicting a cluster of shoes silhouetted against a pink-and-blue sky that rises above a crimson horizon line, the work was included in Guston’s 1980 retrospective at SFMOMA. It continued to travel for the following year, before being sold at Sotheby’s in 1989 for $528,000 from the collection of art collector and Southern California real estate magnate Edwin Janss Jr. As the gallery told ARTnews in an email, “The forms in Orders are personal symbols of the broader historical and psychological trauma that reverberates powerfully throughout the artist’s late oeuvre.”

The gallery is also bringing the largest charcoal drawing by Arshile Gorky still in a private collection, Untitled (Gray Drawing (Pastoral)), from 1946-47 priced at $16 million. There is also the marble and wood Louise Bourgeois sculpture Woman with Packages (1987–93), consigned by her trust for $3.5 million. Other works include an oil-on-cardboard Francis Picabia painting titled Nu assis listed at $4.85 million, and the David Smith stainless steel and wood sculpture Aggressive Character (1947), being sold from Smith’s estate.

Gagosian

For Gagosian’s booth at Unlimited, the fair’s sector for monumental works, the gallery is bringing a work that may carry some sentimental value: an untitled 1970 masterwork by Minimalist Donald Judd that was first shown by Gagosian’s late mentor, Leo Castelli, in New York. A related work is in the Guggenheim in New York’s permanent collection. The sculpture consists of a band of five-foot-high galvanized iron panels standing end-to-end, eight inches from the surrounding walls. The gallery’s booth presentation will be supplemented by a show of works by Judd at their Basel location consisting of 11 single-unit, wall-mounted works made between 1987 and 1991 at the artist’s home and studio near Lake Lucerne. While the gallery did not provide an exact price for the 1970 work, ARTnews has learned that is priced in the region of $15 million to $20 million.

Pace

While Pace is bringing an extensive presentation anchored by historical 20th-century works from marquee names like Alexander Calder, Louise Nevelson, and Pablo Picasso, the gallery is betting that Jean Dubuffet’s Banc-Salon will be the showstopper. Anchoring the booth, the installation comprises a low swooping bench with three kites that hover above, encouraging tired fairgoers to sit and reflect.

But, for our money, Agnes Martin’s Untitled #20 (1974) will be the real star attraction. The painting last sold at auction in 2012, at Christie’s New York, where it made $2.43 million. But, as we wrote this past November, the artist’s market has been heating up in the intervening years—in November, Sotheby’s sold a 1961 painting by Martin, Grey Stone II , for $18.7 million. While Pace declined to provide current pricing, it is very likely that the Martin will be the gallery’s priciest offering at the fair.

Thaddaeus Ropac

Among the significant works heading to Basel courtesy of Thaddaeus Ropac are Sigmar Polke’s 1994 canvas Lapis Lazuli. The picture, priced at $3.8 million, is a brilliantly blue abstraction from what Polke called his “alchemical” turn, during which the artist moved away from artistic takes on consumer culture and began exploring the use of forgotten pigments like lapis lazuli, a blue shade ground from stone that was prized in the Middle Ages and the Renaissance.

Also notable is Market Altar / ROCI MEXICO (1985), the inaugural work from Robert Rauschenberg’s 1984–91 Overseas Culture Interchange (ROCI) program. Not seen publicly since the final ROCI program exhibition in 1990 and never having been on the market, the work is priced at $3.85 million.

The gallery is also bringing Georg Baselitz’s roughly five-foot-tall sculpture of a female head in cadmium yellow, Dresdner Frauen – Die Elbe (1990/2023). The carving was roughly hewn with a chainsaw, an axe, and a chisel from a single tree trunk in 1990; it was cast in bronze in 2023. There are five “Frauen” in museum permanent collections, including Centre Pompidou in Paris, and the Louisiana Museum of Modern Art in Denmark. It is priced at $2.18 million.

Lévy Gorvy Dayan

An untitled David Hammons sculpture from 1990 anchors Lévy Gorvy Dayan’s Basel presentation. Consisting primarily of a coat rack with hat stand, the five-and-a-half foot sculpture, priced at around $9 million, features rubber, plastic bags, paper bags, a tin can, and a baseball cap, all of which give it a very humanlike aspect. The work’s first appearance at an art fair, it has been exhibited publicly only once, at Tilton Gallery in 2006.

“It’s an incredibly powerful piece that is very political and it’s very much, I feel, a self-portrait of the artist,” Dominique Lévy told ARTnews. “It’s the heart of our presentation.”

The gallery is also bringing Übernagelter Hocker (1963) by German artist Günther Uecker. Basically a wooden stool, the seat and one leg of which are covered in painted nails, the sculpture was created the same year as Stuhl II (Chair II), in the collection of the Museum of Modern Art. It is expected to fetch around $1.5 million.

Landau Fine Art

The Montreal gallery will be bringing Wassily Kandinsky’s Murnau mit Kirche II, 1910, a piece stolen by the Nazis in 1938. Gallery founder Robert Landau purchased it this past March at Sotheby’s London for 37.2 million GBP ($44.8 million), making it the 9th most expensive work sold at auction last year. Landau then promptly exhibited the painting at both TEFAF Maastricht and TEFAF New York. And though the painting may be at Art Basel, it won’t be for sale.

“It does not have a price on it and it’s going to be front and center at Art Basel and I’m sure there will be a lot of people looking at it,” Landau told ARTnews. “Why not? It’s of great interest to people.”

Landau said that he has spent the last year working on a book about Murnau and has invested millions additionally in the work, including a consultation with a museum curator. Landau claimed that an auction house evaluation put the work’s value at more than $100 million.

Edward Tyler Nahem Fine Art

With Jean-Michel Basquiat continuing to run hot with numerous auction sales in May, the Upper East Side gallery will be bringing Cash Crop, a 1984 acrylic-and-oilstick depicting a silhouetted figure in front of a sugar box. The $5 million to $6 million price tag is significantly higher than at its last appearance at auction, when it sold for £713,250, or around $1.11 million, at a 2010 Phillips evening sale in London. The estimate for the work then, when it was consigned by Gagosian, was £600,000 to £900,000.

Gallery director Stacie Khandros told ARTnews that the recent auction sales had prompted more conversations with potential consignors compared to last year. “I think we’re still optimistic that … what we have is still competitive pricing. And I think our works are spectacular. It’s just finding the right price to entice potential buyers,” Khandros said.

Editor’s Note, 6/11/2024: An earlier version of this story stated that the price of the 1970 work by Donald Judd offered by Gagosian was $10 million. It has been updated with a revised figure of $15 to $20 million.

The fair is set to run July 5–7, with a VIP preview day on July 4, at the Pacifico Yokohama. The fair has 72 galleries participating; blue-chip galleries will include Almine Rech, BLUM, Perrotin, Sadie Coles HQ, and—for the first time—Pace Gallery. Just over 50 percent of the exhibitor list comprises galleries with a space in the country.

Art Assembly operates the fair, and is also behind Art SG in Singapore and Taipei Dangdai.

This year’s edition will include the exhibition “ALL THINGS ARE DELICATELY INTERCONNECTED,” featuring four women artists of different identities reflecting on the relationship between civilization and the natural world. Having done a similar version of the exhibition last year, it is a presentation of the art collective Spectrum, cocurated by Spectrum cofounder Marina Amada and Soonjung Yi, a curator at the National Museum of Modern and Contemporary Art in Korea. The artists in the exhibition are Mika Tajima, Miya Ando, Jenny Holzer—who currently has an installation at the Guggenheim Museum in New York—and Sareena Sattapon.

There will also be the Sato “Meadow,” featuring four large-scale installations around the fair, including two specially created for the event. The commissions include The Cowboys on the Grass, a performance work by Yuichiro E. Tamura in which three bandana-wearing cowboys sit on a huge green bandana-patterned carpet (based on Édouard Manet’s Luncheon on the Grass), and LINES by Kengo Kito.

An expansive Art Talks will feature discussions on major topics in the art world with Pace CEO Marc Glimcher, Calder Foundation president Alexander S.C. Rower, Mori Museum director Mami Kataoka, Taguchi Art Collection cofounder Miwa Taguchi, Hirosaki Museum of Contemporary Art director Eriko Kimura, among others participating.

The fair has also arranged numerous satellite events, including an opening party at the Yokohama Museum of Art on July 4 and numerous museum exhibition openings. The Mori, considered one of Japan’s leading art museums, will open “Theaster Gates: Afro-Mingei,” the artist’s first solo exhibition, featuring ceramics, architecture, and music.

Below is the full exhibitor list:
A Lighthouse called Kanata (Tokyo)
Almine Rech (Paris, Brussels, London, New York, Shanghai, Monaco)
Art Front Gallery (Tokyo)
BLUM (Los Angeles, New York, Tokyo)
Ceysson & Bénétière (Saint-Étienne, Paris, Lyon, Luxembourg, Geneva, New York, Panéry, Tokyo)
Chalk Horse (Sydney)
Each Modern (Taipei)
Galerie EIGEN + ART (Leipzig, Berlin)
Galerie frank elbaz (Paris)
Gallery EXIT (Hong Kong)
gallery rosenfeld (London)
GALLERY SIDE 2 (Tokyo)
imura art gallery (Kyoto)
Kaikai Kiki Gallery (Tokyo)
Kamakura Gallery (Kamakura)
KOSAKU KANECHIKA (Tokyo)
KOTARO NUKAGA (Tokyo)
Kwai Fung Hin Art Gallery (Hong Kong)
MAHO KUBOTA GALLERY (Tokyo)
MAKI Gallery (Tokyo)
MISA SHIN GALLERY (Tokyo)
Mizuma Art Gallery (Tokyo, Singapore)
NANZUKA (Tokyo)
nca | nichido contemporary art (Tokyo, Nagoya, Fukuoka, Paris)
Over the Influence (Hong Kong, Los Angeles, Bangkok)
Pace Gallery (New York, London, Seoul, Geneva, Hong Kong, Los Angeles, Tokyo)
Perrotin (Tokyo, Paris, Hong Kong, New York, Seoul, Shanghai, Los Angeles)
Polígrafa Obra Gràfica (Barcelona)
Sadie Coles HQ (London)
SCAI THE BATHHOUSE (Tokyo)
ShugoArts (Tokyo)
SPURS Gallery (Beijing)
Sundaram Tagore Gallery (New York)
Taka Ishii Gallery (Tokyo, Kyoto, Maebashi)
Takuro Someya Contemporary Art (Tokyo)
Tang Contemporary Art (Hong Kong, Beijing, Seoul, Bangkok)
TARO NASU (Tokyo)
Wada Fine Arts Y++ (Tokyo)

Hana ‘Flower’

Alison Jacques (London)
ANOMALY (Tokyo)
BLANKgallery (Shanghai, Tokyo)
Gallery 38 (Tokyo)
Gallery Nosco (Brussels)
GALLERY TARGET (Tokyo)
HARUKAITO by ISLAND (Tokyo, Atami)
Hillside Gallery (Tokyo)
MISAKO&ROSEN (Tokyo)
MOU PROJECTS (Hong Kong)
MtK Contemporary Art (Kyoto)
Nan Ke (Shanghai)
PARCEL (Tokyo)
Phillida Reid (London)
Retro Africa (Abuja)
rin art association (Takasaki)
SAC Gallery (Bangkok)
Sapar Contemporary Gallery + Incubator (New York)
The Drawing Room (Makati City)
The Green Gallery (Milwaukee)
The Pill (Istanbul, Paris)
Tomio Koyama Gallery (Tokyo)
Unit 17 (Vancouver)
VIN VIN Vienna / Naples (Vienna, Naples)
Yutaka Kikutake Gallery (Tokyo)

Eda ‘Branch’

Althuis Hofland Fine Arts (Amsterdam)
Hunsand Space (Beijing, Shijiazhuang, Hangzhou)
LEE&BAE (Busan)
Keteleer Gallery (Antwerp)
PYO Gallery (Seoul)
The Columns Gallery (Seongnamsi)
The Page Gallery (Seoul) VETA by Fer Francés (Madrid)
193 Gallery (Paris)

In the post, Awuah-Darko claimed that, on June 9, 2021, Wiley sexually assaulted him twice during a dinner held in his honor by Ghana’s Creative Art Council at the Noldor Artist Residency.

“On 9th June 2021 – I was sexually assaulted by @kehindewiley. It almost destroyed me,” Awuah-Darko wrote. “I hope my words and opennness about my painful experience empower others to come forward. I hope all that unravels creates a path towards not only accountability but recompense and collective healing for other victims.”

In the post, Awuah-Darko claimed that Wiley “inappropriately groped” him first, grabbing his buttocks. He then alluded to a “much more severe and violent” assault later in the night, though he did not provide details for that alleged incident. Awuah-Darko instead noted that he had difficulty confronting the alleged assault due to Wiley’s status as a gay man and because of prevalent anti-LGBTQIA+ sentiment in Ghana.

“I am actively seeking legal action and hope that speaking about my abuse will empower other victims to do the same,” Awuah-Darko told ARTnews in a direct message on Instagram Sunday.

Not long after Awuah-Darko’s post went live, Wiley responded with a post of his own calling the relationship “consensual.” In a longer emailed statement to ARTnews, Wiley said the claims were “deeply hurtful” and that he would “pursue all legal options to bring the truth to light.”

“Someone I had a brief, consensual relationship with is now making false, disturbing, and defamatory accusations about our time together,” Wiley said. “These claims are deeply hurtful to me, and I will pursue all legal options to bring the truth to light and clear my name. These claims are also a slap in the face for all victims of sexual abuse. I have no idea why this individual has decided to target me this way, particularly since he has been trying to be part of my life ever since we met – flying to Nigeria to attend my birthday party, attempting to visit my home in upstate in New York, sending me warm and cordial text messages, and almost a year-ago to the day attending my exhibition at the de Young Museum in San Francisco and posting to Instagram that the show by his ‘dear friend’ was ‘breathtaking.’ He has posted extensively on Instagram about his struggles with mental illness and I hope he gets help with whatever he is going through. I will vigorously defend my name and reputation.”

On Sunday afternoon, Awuah-Darko responded to Wiley’s statement in a direct message to ARTnews, asserting the artist’s characterization of their relationship was not contradictory to claims of sexual assault.

“Reconciling with the painful reality of Kehinde’s assault against me was something that I only accepted in late October 2023, when I confided in one of my best friends, who is a gallerist. That is how recent my acceptance of my assault was and after years of therapy over time,” Awuah-Darko wrote. “My relationship with Kehinde in months and moments prior to my epiphany of the abuse I experienced under his hand, would have been friendly and even cordial; whether it was the birthday party he invited me to or discussions about the possibility of meeting. Much like his OTHER VICTIMS. I think it is important to constantly challenge the misconception that a sexual predator is a complete stranger. There is evidence to show that almost over 90% of sexual abuse cases reported are those where victims know the predator intimately or as family or a friend. I am of sound mind and stand by the integrity of statement today.” (RAINN, a nonprofit focused on fighting sexual assault, has estimated that figure at 80 percent.)

In March, Awuah-Darko referenced an experience with sexual assault by “someone who outranks me” in a post on Instagram, though he did not name Wiley at the time. In the post, Awuah-Darko asked for contributions for “projected legal fees,” with a target of $200,000.

The Noldor Artist Residency’s Instagram page includes a post from June 9, 2021 noting the dinner referenced in Awuah-Darko’s post.

The residency program, the first of its kind in Ghana, was founded by Awuah-Darko in November 2020 to provide emerging African artists with a dedicated studio space and a four-week retreat in Accra. The residency has since evolved into a museum, the Institute Museum of Ghana.

Awuah-Darko is an artist, musician, and curator, as well as a collector of contemporary African and diaspora art, much of which he has donated to the Institute Museum to jumpstart its collection. He has shown work with Gallery 1957 and curated a non-selling exhibition last year in partnership with Sotheby’s and the Olym Collection in Tel Aviv, Israel.

The Awuah-Darkos are one of the wealthiest families in Ghana, according to GhanaWeb, with a reputed net worth of $650 million.

Wiley, who was born in Los Angeles and is now based in New York, is well-known for his portraits of Black men and women done in the style of Old Masters paintings. He famously painted the official portrait of Barack Obama, and has received many institutional surveys.

Sean Kelly and Roberts Projects, who both represent Wiley, did not respond to a request for comment. Black Rock Senegal, the organization that he founded, declined to comment.

Update, 5/19/24, 1:55 p.m.: This article has been updated to include a longer statement from Awuah-Darko responding to Wiley’s comments.

Update, 5/19/2024, 1 p.m.: This article has been updated with a longer statement by Wiley provided directly to ARTnews.

The museum announced in February an initial number of around 350 objects recovered, from the over 1,500 identified as lost or stolen last summer. That brings the total figure to 626 recovered. On Friday, the museum said it was currently pursuing new leads for around 100 other objects, and that pieces had been found in Europe and North America.

The British Museum scandal broke last August when the institution announced that a staff member, later identified as senior curator Peter Higgs, had been fired after thousands of items were discovered to be missing or stolen. The thefts allegedly occurred over the course of 30 years, with many items sold for a fraction of their worth on the ecommerce website eBay.

As ARTnews‘ Karen K. Ho detailed in December, as a result of the extent of the thefts, director Hartwig Fischer immediately stepped down instead of departing early in 2024 as previously announced. Deputy director Jonathan Williams also left following the recent conclusion of an independent review, which had 36 recommendations for the museum’s security, governance, and record-keeping operations. There are plans for a complete documentation of the museum’s collection in five years at a cost of $12.1 million. There have also been renewed calls for the repatriation of items such as the Benin Bronzes and the Parthenon Marbles from Nigerian and Greek officials.

In a statement, George Osborne, the chairman of the museum trustees, said, “Few expected to see this day, and even I had my doubts. When we announced the devastating news that objects had been stolen from our collection, people understandably assumed that was it – we were unlikely to ever see more than a handful of them again.

“That’s usually the history with thefts like this. But the team at the British Museum refused to give up. Through clever detective work and a network of well-wishers, we’ve achieved a remarkable result: more than 600 of the objects are back with us, and a further 100 have been identified – in total almost half the stolen items that we could recover.

“It’s a great result but we’re not resting here – the hunt goes on for the remaining missing objects. I urge anyone with any information to follow the example of all who’ve helped us and get in touch.”

Like everything with this “enfant terrible,” it’s never clear how much, if any, of this is ironic or a troll. The overwhelming feeling I was left with upon leaving Elsewhere last month, however, was boredom. 

When I read last September that there was a wave of walkouts from the film’s premiere at the Venice International Film Festival, I had assumed it was because the material was objectionable. After all, Korine has delighted in shocking and disturbing audiences since his earliest films, regularly offering graphic—and in some cases unsimulated—sex, typically with a side of distasteful violence. Now, having seen Aggro Dr1ft, which tomorrow finishes out a theatrical run, I can assure you that isn’t the case. There is nothing that might inspire that reaction, or frankly any reaction at all, besides irritation.

The film follows the story of Bo (Jordi Mollà), the self-described “world’s greatest assassin” as he takes on a job to kill a demon-horned crime lord in Miami. Bo is also a family man, balancing his violent work with time with his kids and wife (Chanya Middleton), who goes unnamed. Most of the time, Bo’s spouse is depicted either writhing on their bed or twerking for the camera.

To the extent there is a plot, that is it, aside from a meeting with the man who hires (and pays him) for the job and a short interlude on a boat with his protégé Zion (Travis Scott). The film is filled with underwritten monologue by Bo, who speaks endlessly about being the world’s greatest assassin, and repetitive dialogue from each character, as if they each contained just one trait.

There is possibly a kernel of a good idea here. If one were to read the filmmaker’s intentions generously, I might say that Korine, known for exploring America’s id, has made a power fantasy staged using the language of video games. His film contains the same stilted dialogue, the same emphasis on sex and violence, and the same flat female characters as, say, the Grand Theft Auto series. Plus, Aggro Dr1ft has its own stylized aesthetic, with everything shot using thermal imaging. 

A less generous reading (and one that, in my opinion, would be more accurate) would suggest that Korine hasn’t even thought through his intentions. That much is made clear by the fact that the same half-formed ideas repeat over and over, making the film’s 80-minute runtime feel like three hours. The film consists primarily of loops of swinging machetes, a Ferrari driving down highways, and close-ups of the characters’ faces. Bo, and the other characters repeat their underwritten dialogue over and over in a robotic monotone. The repetition might be the point, but it’s also pretty dull.

Women, when they do appear in this film, are often shown supine or twerking. Bo’s wife repeats how lonely she is; in the climax, as the demon crime lord prepares to fight Bo and humps the air, a woman cries while tied to a bed in what appears to be rope bondage. It’s all so tedious. 

One might say that Korine reduces filmmaking in Aggro Dr1ft to its violent core: we watch Scarface because, on some level, we want to be Al Pacino, if only for a moment. But, even in that generous reading, who in the American filmgoing public doesn’t know that? It’s an idea that’s been explored so much that, to do so in 2024, is just a roundabout way of letting your audience have their cake and eat it too. Ironic misogyny, like ironic racism, is still misogyny, as if that hadn’t been made clear over the last decade of the internet. 

The thermal imaging filter, which has been colored over with animation and digital paint, can at times create striking visuals. There are rare moments of beauty, as when Bo looks out over a sunset from his balcony and the colors briefly flip to reveal a towering demon. At times, an overlay of wires or tattoos seem to crawl up characters’ skin as they move. But more often, the hues muddy and stick together, and the neons quickly lose their shine. One is left with the unmistakable impression that, were Korine to remove the gimmicky filter, we’d be left with some of the ugliest, most try-hard footage ever put to film.

Aggro Dr1ft’s long and much-hyped tour feels like pageantry built up to disguise this film’s vacuousness. And that pageantry continued on well after the Elsewhere screening ended, too. Rows of chairs were cleared from the dancefloor, and AraabMuzik began his set, surrounded by his entourage and several bikini-clad women pole-dancing. In the back, EDGLRD employees sold merchandise for the collective—skateboard decks, T-shirts, hoodies, wearable masks, and so on. The audience swayed laconically, barely dancing, or ignored the set entirely to talk with friends. 

I can’t speak for the Los Angeles screening, or the EDGLRD Boiler Room set during Art Basel Miami Beach in December, which seemed to have a who’s who of attendees. But the crowd at Elsewhere was almost comically dead for the tenor and volume of dance music being played.  This did not seem like some new form of entertainment, bringing the Miamified aesthetic of Korine’s more recent feature films into the real world. Or if it was, the new world of entertainment is decidedly manufactured and safe in addition to being incredibly lame.

The entire night felt simultaneously like a 50-year-old and a 12-year-old’s idea of cool, which makes sense given that the 51-year-old told Art in America last year that his sensibility is that of “12-year-old moron.” Korine said at the time,  “I’m just like a child. It’s arrested development.” I guessed as much.

The iconic glass chapel, declared a National Historic Landmark last year, was designed by Lloyd Wright, son of the famed architect Frank Lloyd Wright, and was built in 1951. The area where it was sited, known as the Portuguese Bend on the Palos Verdes Peninsula, has suffered from ground movement since the 1950s, when attempts to grade land for a road triggered a landslide.

“The accelerating destruction of Wayfarers Chapel by the Portuguese Bend landslide complex is a looming tragedy felt by many. Our hearts go out to our many neighbors whose homes are threatened,” Dan Burchett, the chapel’s executive director, said in a statement.

“Wayfarers is committed to preserving our iconic chapel exactly as it has always been, either on the current site or a similar site close by in Rancho Palos Verdes. We are taking immediate action to carefully disassemble the chapel’s historic materials as a necessary step in the preservation of the chapel for generations to come.”

The process to dismantle and rebuild the chapel is expected to take four years and is being led by Architectural Resources Group. The chapel said in a statement on its website that the structure could not “withstand much more damage before it becomes impossible to preserve,” citing unusable utilties, fractured glass panels, and bent walls and framing.

“So many of the chapel’s original materials that were part of the Lloyd Wright design cannot be replicated today: the old growth redwood glulam, the blue roof tiles, the elegant network of steel that holds the windows together. With each passing day, more of this material is lost or irreparably damaged,” said Katie Horak, principal of ARG, said in a statement. “Our team is working against the clock to document and move these building components to safety so that they can be put back together again.”

Ground movement has been particularly pronounced in recent years, with the highway near the chapel rapidly deteriorating. The City of Ranchos Palos Verdes has allocated over $14 million for efforts to mitigate the issue and repair damage from the movement.

“Everyone is feeling anxious and nervous,” Ara Mihranian, the city manager, told the New York Times. “It’s very important to be aggressive and do what we can immediately. For years we’ve been saying something imminent is going to happen.”

The painting, carrying a $12 million–$18 million estimate, hit that price after 10 minutes of bidding. Argentinian developer and businessman Eduardo F. Costantini—who was in the room—bid against buyers on the phone with Alejandra Rossetti, senior vice president for business development for the auction house in Miami, and Jen Hua, Sotheby’s deputy chairman of Sotheby’s Asia.

“An iconic painting, The Distractions of Dagobert, is one the most admired works in the history of surrealism and an unparalleled masterpiece of Latin American art. I was the underbidder when she reached the artist’s record 30 years ago and tonight once again, we made a new auction record! This masterpiece will be part of a collection where amongst other two important works by Remedios Varo and another record breaking  Frida Kahlo are also found,” Constantini said in a statement after the sale.

Costantini is an ARTnews Top 200 collector known for founding Museo de Arte Latinoamericano de Buenos Aires. In 2001, he donated over 220 works of Latin American art to the museum, including numerous pieces by Diego Rivera and Frida Kahlo. Costantini has been known to set records for Latin American artists by purchasing key works at auction.

In 2020, Costantini set records when he bought works by Remedios Varo and Wilfredo Lam. In 2020, at Sotheby’s, he purchased the latter’s Omi Obini (1945) for $9.6 million, making it the highest price ever achieved for a work by a Latin American artist at the time. Connstantini then broke that record in 2021 when he bought Frida Kahlo’s Diego y yo (Diego and I) at Sotheby’s for $34.9 million.

The price achieved for the Carrington on Wednesday far surpassed her previous record at auction, which was set two years ago for The Garden of Paracelsus (1957), when it sold for $3.2 million.

“The recent surge of interest in previously overlooked women artists connected with the Surrealist movement marks a profoundly significant cultural shift. Leonora Carrington has proved to be a lightning rod of attention, setting the stage for Les Distractions de Dagobert, the apotheosis of Carrington’s oeuvre, to take its place as a masterpiece of 20th-century art,” Allegra Bettini, the head of Sotheby’s modern art evening sales in New York, said in a statement prior to the sale.

As Bettini noted, the upsurge in prices for Carrington, who was born in England and based in Mexico for much of her career, tracks with a surge in interest in women Surrealists, a trend best exemplified by the 2022 edition of the Venice Biennale, curated by Cecilia Alemani. That show was titled “The Milk of Dreams,” after a book of the same name by Carrington.

Les Distractions de Dagobert was featured in the exhibition “Surrealism and Magic: Enchanced Modernity,” which was on view at the Peggy Guggenheim Collection in Venice, also in 2022.

The seven-and-a half-foot-tall painting shows Charles facing the viewer head-on, wearing the uniform of the Welsh Guards with a sword in hand. He’s pictured against a backdrop of mottled reds and pinks, so that the King’s body appears to disappear into the background. His facial expression appears pensive. Above his shoulder rests a butterfly.

Yeo has long been a prominent portrait painter of royals and celebrities, including Queen Camila, Prince Philip, former prime minister Tony Blair, Rupert Murdoch, and Damien Hirst, among others.

Criticism rolled in quickly. The New York Times’s chief fashion critic, Vanessa Friedman, wrote that the painting’s primary color “almost instantaneously gave new meaning to the idea of ‘seeing red,'” adding that the usage of the shade is “particularly fraught.” Meanwhile, in a piece for the Cut, writer Danielle Cohen suggested that “Charles’s face is like a disembodied specter of death floating between violent brushstrokes.”

The takes from social media users were predictably more brutal. Among the associations brought up: “Archdemon of Hell,” “Satan,” “bathing in blood,” “surrounded by the spilled blood of the British Empire,” “a portal into the nether realm,” a literalized firestorm of controversy. Those were just the most family-friendly takes; it gets worse from there, as it usually does on X these days.

At least one critic liked the work. Richard Morris wrote on X, “I really like the portrait of King Charles by Jonathan Yeo – the go-to artist for slightly edgy but convincingly recognisable contemporary portraits; before photography, to have a great painter capture your real appearance you accepted the revelation of your flaws and your mortality. It’s what Yeo captures here.”

As for the King’s opinion of the portrait, Yeo told the BBC that he “was initially mildly surprised by the strong colour but otherwise he seemed to be smiling approvingly.”

At the unveiling ceremony, Yeo said in a statement, “It was a privilege and pleasure to have been commissioned by The Drapers’ Company to paint this portrait of His Majesty The King, the first to be unveiled since his Coronation.

“When I started this project,” he continued, “His Majesty The King was still His Royal Highness The Prince of Wales, and much like the butterfly I’ve painted hovering over his shoulder, this portrait has evolved as the subject’s role in our public life has transformed.

“I do my best to capture the life experiences and humanity etched into any individual sitter’s face, and I hope that is what I have achieved in this portrait. To try and capture that for His Majesty The King, who occupies such a unique role, was both a tremendous professional challenge, and one which I thoroughly enjoyed and am immensely grateful for.”

Yeo completed the painting over the course of four sittings, the first of which was in June 2021. In an interview with the Times, Yeo said that Charles’s demeanor “definitely changed after he became king.”

The portrait was commissioned by the Drapers Company, once a trade association for wool and cloth merchants that is now a philanthropic organization. The work will hang in Drapers’ Hall in London’s financial district, where the company has a gallery of other monarchs, from the end of August. Until that time, it will be on public display at Philip Mould Gallery in London.

As of Friday afternoon, the website was still offline. A single webpage was available with the company’s name and a message reading, “We apologise that our website is currently offline. We are working to resolve this as soon as possible and regret any inconvenience.”

In a statement emailed to ARTnews, a spokesperson for the auction house said, “Christie’s confirms that a technology security issue has impacted some of our systems, including our website. We are taking all necessary steps to manage this matter, with the engagement of a team of additional technology experts. We regret any inconvenience to our clients and our priority is to minimize any further disruption. We will provide further updates to our clients as appropriate.”

The news was first reported by the New York Times on Friday at midday, calling the incident a “cyberattack” by hackers.

The incident comes just days ahead of the May sales week in New York, a crucial period for the auctions houses and an important bellwether for the art market. On Tuesday, Christie’s will hold the Rosa de la Cruz Collection evening sale and its 20th/21st Century evening sale, which figure to be its biggest sales of the season. One of the top lots for the latter sale is the Brice Marden diptych Event (est. $30 million–$50 million), apparently being consigned by Richard Schlagman, the enigmatic former owner of Phaidon Press.

While previous editions of the fair were held in Harlem, this year the fair moved to industry heavyweight neighborhood of Chelsea. More specifically, the Starrett-Lehigh, a massive near-century old Art Deco building that has been extensively renovated in the last decade and has lately become a magnet for fashion brands. The building has also lately served as a venue for major art events, including the 2022 Jean-Michel Basquiat exhibition “King Pleasure” and the 2021 edition of Future Fair, which this year is at the Chelsea Industrial building on West 28th Street.

The 2024 edition of 1-54 New York features 32 exhibitors, all primarily showing art from African artists or artists from the African diaspora. Though the majority of the galleries hail from the US or Europe, there are seven exhibiting galleries based on the continent, including outfits hailing from Nigeria, Uganda, South Africa, Côte d’Ivoire, and Morocco. There were also several special projects worth a look, including a selection of work from artists-in-residence at Kehinde Wiley’s Black Rock Senegal, and Zimbabwe-based artHARARE, which was issuing “art world passports,” a cheeky nod at art’s cosmopolitanism, immigration, and cultural exchange.

As usual, it was a tightly curated fair. Below, a look at our favorite booths at the 1-54 New York fair.