It’s astonishing—over 40,000 people have signed a petition to block the French government from lending the Bayeux Tapestry to Britain. Yes, that’s right: a concerned multitude insists the ancient fabric is too fragile for the journey.
The campaign was spearheaded by Didier Rykner, the art historian behind La Tribune de l’Art, who argues that President Macron should have heeded the advice of conservators and restorers instead of green-lighting the loan to the British Museum.

This article has little of true interest. What catches my attention, however, is the way its original content has drifted from one outlet to another, as if there were nothing else in the world worth recounting. Perhaps it belongs to a secret chain of good fortune. This is my extract of an extract of yet another extract, and so on, until the original author dissolves into the distance. Take it as a nocturnal diversion and as a reiteration of the open secret that most cultural blogs venture into the fields to harvest the grain that will be baked into the bread of the mornings to come.

This past weekend, Annex Gallery carried out a working visit to Louisville, Kentucky, with the purpose of attending a talk offered by several Cuban artists on the challenging process of sustaining their creative practice within an economic, social, political, and even climatic context radically different from the one they had once known. The conversation took place at noon in the main hall of Louisville Visual Art and extended for nearly two hours. Four Cuban artists from the group engaged the local audience in dialogue about their experiences as emigrants while also delving into specific aspects of their work.

Throughout my life, I have felt a peculiar pleasure whenever I’ve had the chance to witness a birth. These beginnings—first steps, embryonic shapes of future realities—emerge every minute, every second. They are part of the unending dynamic of existence in the physical realm. Most will go unnoticed, for only God can foresee the majestic tree that may rise from a given blade of grass.

I've known Leticia for so many years that I can’t quite find the thread of the memory. What I do remember—clearly—is that while she was studying design, I suddenly realized she would never be a designer. Because she was an artist, and because she couldn't, wouldn't, and had no interest in being or doing anything else. I can’t recall the first time I saw her work either. But what I do know is that her work has been orbiting my gaze for a very long time, as if it had always been there—lurking, silent, waiting for unsuspecting, gentle eyes.

When Harry Belafonte released his famous Day-O (The Banana Boat Song) in 1956, he did not intend to celebrate tropical joy or offer a festive anthem to liven up Caribbean cocktail parties in white suburban America. The song—based on a traditional Jamaican work chant sung by night-shift dock workers loading bananas while waiting for the tally man to count their labor at dawn—is, in truth, a weary prayer, a rhythmic lament. Its upbeat tone masks an exhausting, underpaid routine marked by waiting and invisibility.

Leyva is a Cuban artist whose life and work are deeply marked by persistence, reinvention, and resilience. What is truly singular is that, even through transformation, his voice remains intact.

In The Climate of Art Collecting, Christopher Cameron examines how extreme weather events are radically reshaping the economics of the art world. In the wake of recent fires, hurricanes, and floods, private collections, galleries, and studios face losses without precedent, raising troubling questions about the fragility of cultural heritage and the limits of insurance. The piece shows how climate change is forcing collectors, insurers, and museums to rethink preservation strategies and their own responsibilities in a market growing ever more vulnerable.

This insightful article, published by Anny Shaw in The Art Newspaper on March 10, 2025, explores how the art world is shifting toward a slower, more reflective pace. Shaw notes that museums are staging fewer large‑scale exhibitions, prioritizing quality and depth over sheer quantity. Artists are scaling back their output, and collectors are becoming increasingly selective—prompting galleries, museums, and fairs to foster a more deliberate and meaningful connection with their audiences rather than relying on rapid turnover.