Morning Links

Morning Links: World Cup Edition

Emmanuel Macron.



The relocation of the Powerhouse Museum from Sydney to a western suburb of the Australian city will cost $890 million, and it may be the most expensive move of its kind in history. [The Art Newspaper]

A 1967 painting by Robert Motherwell that went missing in 1978 was found in upstate New York last week. The painting, Untitled, is valued at $1 million. [The New York Times]

A new initiative enables cardholders of the New York Public Library, the Brooklyn Public Library, and the Queens Library to visit 33 cultural institutions across the five boroughs for free. [The New York Times]


Here’s a look around Cleveland’s FRONT International Triennial. [ARTnews]

Behold artist Catrin Huber’s vibrant installations at the ancient sites of Pompeii and Herculaneum. [The Guardian]


In a call for a “male architect willing to navigate his own building in a skirt,” Carolina A. Miranda enumerates many notable structures with transparent walkways and staircases. The list includes the City College of New York and the Nicanor Parra Library at Diego Portales University in Santiago, Chile, among other buildings. [Los Angeles Times]

World Cup

Russian protest group Pussy Riot interrupted yesterday’s World Cup Final, which was held at the Luzhniki Stadium in Moscow, to call attention to corruption within and abuses of power by the government and police, particularly in terms of unwarranted arrests. [The Guardian]

Gallery owner Emmanuel Perrotin caught French President Emmanuel Macron mid-celebration at the game. [Instagram]


Here are artist Tschabalala Self’s photographs of Free Range, a new performance night in Hudson, New York that she and several of her friends created. Artist Shanekia McIntosh, who co-founded the event, said, “Our mission is to really make room for the connective tissue of the black queer scene happening in New York City and the Hudson Valley. It also helps to make sure it’s fun.” [T: The New York Times Style Magazine]


Art correspondent for The National, Melissa Gronlund argues that art criticism ought to up the ante. She writes, “In the art world, a critical culture has to be normalized, so that negative feedback isn’t seen as a sensational one-off.” [The National]

But not all negative reviews are inherently productive or worthwhile. One writer takes issue with the focus on progressive movements in the Whitney Museum’s ongoing “An Incomplete History of Protest” exhibition. He was particularly affronted by the work of “some organization called the Guerrilla Girls,” and he calls the show, in part, “an entire floor of lies.” [National Review]

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