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Research on true provenance of pieces from the Gurlitt Trove, a group of 1,500 artworks that may have been looted by the Nazis, has been completed. But scholars are still not sure whether they must restitute two-thirds of these works. [Monopol]
Two Hong Kong gallerists have teamed up to launch Unscheduled, a small art fair with 12 exhibitors who each bring work by one artist to the city’s Tai Kwun Centre for Heritage and Arts next month. [South China Morning Post]
Why do corporate sponsors care so much about art, and why have museums become a site of protest? A curator of activist art mulls these questions. [The New York Times]
In a first, the Musée du Quai Branly–Jacques Chirac, a Paris museum with extensive African holdings, has a director who born near the French capital: Emmanuel Kasarhérou, who hails from New Caledonia. [Le Monde]
Kara Walker assesses life under quarantine, writing, “For every day and every week in our ‘quarantine’, ‘self-isolation’, ‘lockdown’ or ‘shelter in place’, some wise fool asks us to consider the effects of social distancing, as if segregation weren’t already a reality.” [Frieze]
Robert Smithson, of Land art fame, kept an extensive record collection. Survey his musical taste with a Spotify playlist of songs from albums in his holdings. [Dia Art Foundation]
“Can an artificially intelligent machine be an artist in its own right? My answer is no.” [The New York Times]