The Museu do Oriente in Lisbon looks at Portugal's recent links with the East as well as its longer history in the region
Apollo is pleased to announce the launch of Agenda - an online guide to current events and exhibitions across the globe
Rachel Whiteread's 'House' was unveiled 20 years ago today. It stood for barely three months, but its influence endures
Sir Anthony Caro was among the giants of modernism. We can be certain that his influence will be felt for decades to come
Apollo is deeply saddened to hear of the loss of Sir Anthony Caro, the influential British sculptor who died yesterday at the age of 89
Rebecca Morrill discusses her work at the Contemporary Art Society to expand and strengthen public art collections in the North East
They were once kept under lock and key, and are still taboo in Japan, but both the British and Fitzwilliam Museums are celebrating shunga prints as art this autumn
There are noble ideals (and some interesting artists) at work, but The Other Art Fair and Moniker's crowded display doesn't give the art a chance
With some excellent editions and a spacious layout, Multiplied at Christie's South Kensington is a welcome respite from a frenetic week
Frieze London and Frieze Masters form part of a wider curatorial trend: in Apollo's October issue, James Cahill examines the juxtaposition of historical and contemporary art
Dayanita Singh's exhibition at the Hayward Gallery is curious curatorial blend: archive, library and gallery combined
MoMA dusts off some treasures in an attempt to prove that there is no 'problem' with its American collection
Tate Britain's 'Art Under Attack' fails to address acts of contemporary iconoclasm, such as the destruction of the Chartist Mural in Wales
Too many young dealers view Frieze as the gatekeeper to artistic fame and fortune, and are desperate to come in from the cold
Several displays of 18th-century art have opened recently. What's behind the current interest in this elegant era?
The standard of Ireland's latest clutch of public statues ranges from poor to dreadful
Syrian cultural artefacts are at risk from looting and illicit trade. ICOM's Red List is one of the measures that might prevent their disappearance
The Whitechapel Gallery celebrates Acme Studios' avant-garde roots, but is it now just urban ruin-porn for London's property developers?
The Keeper's House at the Royal Academy has opened, boasting tasteful dining rooms, a geisha-girl bar and a secret garden...
A new Titian is a rare thing indeed; and it certainly looks good enough to be true
‘Maybe it’s perfectly legitimate that they are here because Bob Dylan painted them...’ Why are musicians so popular with major art galleries?
Curators are not ‘pirates who've taken over the ship’ and Waldemar Januszczak should know it
Six shortlisted artists have cooked up their plans for London's Fourth Plinth
Sketches made at the same time as Sunset at Montmajour (1888) reveal Van Gogh's struggle to portray the landscape in the right light
Apollo’s Agenda
Apollo is pleased to announce the launch of Agenda - an online guide to current events and exhibitions across the globe
Ghost House
Rachel Whiteread's 'House' was unveiled 20 years ago today. It stood for barely three months, but its influence endures
A Tribute to Anthony Caro
Sir Anthony Caro was among the giants of modernism. We can be certain that his influence will be felt for decades to come
Anthony Caro
Apollo is deeply saddened to hear of the loss of Sir Anthony Caro, the influential British sculptor who died yesterday at the age of 89
Legacies
Rebecca Morrill discusses her work at the Contemporary Art Society to expand and strengthen public art collections in the North East
Sex on Show
They were once kept under lock and key, and are still taboo in Japan, but both the British and Fitzwilliam Museums are celebrating shunga prints as art this autumn
No Alternative?
There are noble ideals (and some interesting artists) at work, but The Other Art Fair and Moniker's crowded display doesn't give the art a chance
Multiple Choice
With some excellent editions and a spacious layout, Multiplied at Christie's South Kensington is a welcome respite from a frenetic week
Same Old Story?
Frieze London and Frieze Masters form part of a wider curatorial trend: in Apollo's October issue, James Cahill examines the juxtaposition of historical and contemporary art
Catalogue Photography
Dayanita Singh's exhibition at the Hayward Gallery is curious curatorial blend: archive, library and gallery combined
All American
MoMA dusts off some treasures in an attempt to prove that there is no 'problem' with its American collection
Iconoclasm Today
Tate Britain's 'Art Under Attack' fails to address acts of contemporary iconoclasm, such as the destruction of the Chartist Mural in Wales
Friezing Outside
Too many young dealers view Frieze as the gatekeeper to artistic fame and fortune, and are desperate to come in from the cold
18th-century Envy
Several displays of 18th-century art have opened recently. What's behind the current interest in this elegant era?
Bronze Blunders
The standard of Ireland's latest clutch of public statues ranges from poor to dreadful
Red Alert
Syrian cultural artefacts are at risk from looting and illicit trade. ICOM's Red List is one of the measures that might prevent their disappearance
Acme Corporation
The Whitechapel Gallery celebrates Acme Studios' avant-garde roots, but is it now just urban ruin-porn for London's property developers?
It’s a Keeper
The Keeper's House at the Royal Academy has opened, boasting tasteful dining rooms, a geisha-girl bar and a secret garden...
Risen Again
A new Titian is a rare thing indeed; and it certainly looks good enough to be true
Music Artists?
‘Maybe it’s perfectly legitimate that they are here because Bob Dylan painted them...’ Why are musicians so popular with major art galleries?
In Defence of the Curator
Curators are not ‘pirates who've taken over the ship’ and Waldemar Januszczak should know it
Fourth Plinth: A Taster
Six shortlisted artists have cooked up their plans for London's Fourth Plinth
Unconvincing Vincent
Sketches made at the same time as Sunset at Montmajour (1888) reveal Van Gogh's struggle to portray the landscape in the right light