Flipping Out: Saltz and Simchowitz clash over the art market
Flipping art is a controversial practice: it was only a matter of time before it resulted in a public spat
Flipping art is a controversial practice: it was only a matter of time before it resulted in a public spat
In his April Editor's Letter, Thomas Marks asks 'Was there ever a golden age for Italian Museums?'
French artist Camille Henrot’s first solo UK exhibition at Chisenhale Gallery is like asking a question and receiving a million answers
A round-up of the week's reviews: Paris, paintings, and two very different types of print
Maurice Davies on museum funding, Daisy Dunn on Pompeii's stolen fresco, and other stories from the Muse Room this week
Grayson Perry is the first visual artist to receive the honour. He must be getting used to making that claim.
A winningly eccentric exhibition of contemporary painting
How do you like your Georgians? William Kent's designs come with a liberal coating of gilt
What does it mean to be selected for TEFAF's yearly Showcase of promising new galleries?
The theft of part of a minor fresco in Pompeii is not in itself a huge loss, but it highlights wider security and conservation issues
A round-up of the week's reviews: murals, ruins, maps and charts, and contemporary responses to historic art...
The current Piranesi exhibition at Sir John Soane's Museum raises interesting questions about original artworks and their reproductions
Yinka Shonibare's work at the Barnes Foundation is both entertaining and deeply reflective
Lost, stolen, restored, repackaged and photographed: a round-up of art news and debates from this week
Are the rules governing photography in many major museums just too confusing?
Rob and Nick Carter's harnessing of digital media encourages us to look at art more closely
In Apollo's March issue we spoke to Michael Craig-Martin ahead of his exhibition at Chatsworth House
We asked 10 galleries at TEFAF to pick out their personal highlights
The curator's introduction to 'Titian and the Golden Age of Venetian Art'
It's been billed as 'the broadest and most diverse' Whitney Biennial to date, and the enormous variety of this year's display is no bad thing