The $4.1M Sale That Covered Up a Collapse: What's Really Happening to African Art
Summary
In May 2026, Ghanaian sculptor El Anatsui, 82, set an all-time Frieze New York sales record when two of his works sold for a combined $4.1 million — LuwVor I at $2.2 million and MivEvi III at $1.9 million — on the fair's opening day. Yet behind those gleaming headlines, auction sales of African-born artists had collapsed 45% from a 2021 peak of $116.5 million to just $43.9 million in 2024, a rate of decline nearly three times that of the broader contemporary art market during the same period. Sotheby's dismantled its decade-old dedicated African art department in April 2025, and London-Lagos gallery Tiwani Contemporary — which had championed artists including Njideka Akunyili Crosby and Simone Leigh — shuttered after 15 years in May 2026. Meanwhile, South African artist Kate Gottgens spent four years unable to locate her own painting, which disappeared after a Milan art fair appearance in 2022, exposing the catastrophic absence of contract enforcement and dispute resolution infrastructure in the African art ecosystem. The $4.1 million record is not a sign of African art's arrival — it is a single dazzling exception erupting from a market in structural freefall, and that exception is effectively obscuring the underlying crisis. African-born artists command just 0.37% of the $20.7 billion global auction market, and the United States — the world's largest art market at 44% of global sales — has no federal resale royalty law, meaning El Anatsui legally collects nothing if those same works are resold for $20 million a decade from now.
Key Points
The Collapse Behind the Record — From $116.5M to $43.9M and What It Really Means
El Anatsui's $4.1 million sale at Frieze New York generated the kind of breathless coverage that makes the African art market look like it's accelerating uphill. The actual data tells a fundamentally different story. According to ArtTactic and The Art Newspaper, auction sales for African-born artists peaked at approximately $116.5 million in 2021, fueled by a post-pandemic speculative boom that proved short-lived and unsustainable. The market then fell to $79.8 million in 2023 before plunging a further 45% year-on-year to $43.9 million in 2024, while the global contemporary art market declined only 27% in the same period — meaning African art was falling at nearly triple the pace of the broader market. A partial recovery to $70.5 million followed in 2025, but that figure still represents roughly 60% of the 2021 peak and is heavily dependent on a small number of exceptional transactions. More damning still: the 2026 Art Basel and UBS Global Art Market Report doesn't track African art as a separate category at all — while providing detailed breakdowns for the United States (44%), United Kingdom (18%), and China (14%), Africa is statistically invisible at the aggregate reporting level. Back-of-envelope calculations using ArtTactic data suggest African-born artists account for approximately 0.37% of the $20.7 billion auction market, a figure so small that a single exceptional consignment by one artist can move the entire annual total by 5% or more.
The Atlantic Divide on Resale Royalties — Why the Sale's Location Is Legally Critical
One of the most consequential and least-discussed facts about El Anatsui's $4.1 million Frieze New York sale is that it took place in the United States, which has no federal resale royalty law for visual artists. California's 1977 resale royalty statute — which imposed a 5% fee on qualifying resale transactions — was effectively neutralized in 2018 when the Ninth Circuit Court of Appeals ruled it preempted by federal copyright law, leaving it applicable only to a narrow window of transactions from 1977 to 1978. This means that if LuwVor I or MivEvi III is resold at a future New York auction for $15 million, El Anatsui is legally entitled to zero dollars from that transaction. The contrast with the United Kingdom is stark: DACS, the Design and Artists Copyright Society, has collected more than £176 million under the Artist's Resale Right since 2006 and distributed £144 million to 6,997 artists and estates, paying out £9.2 million in 2025 alone, with individual payments capped at £12,500 per work. The fact that 60% of those payments were under £500 directly disproves the argument that resale royalties only benefit established artists — the data shows they predominantly serve working artists at modest commercial scales. H.R. 4017, the American Royalties Too Act of 2025, would establish a 5% federal resale royalty in the United States, but it is the fourth legislative attempt since 2011 and has never cleared Congress, reflecting the sustained political power of gallery and auction house opposition to artists' rights.
Kate Gottgens and the Infrastructure That Isn't There
The case of South African artist Kate Gottgens is not an anecdote — it is a stress test of the African art market's institutional infrastructure, and the infrastructure failed comprehensively. Gottgens' 2011 painting "Audible Doom" was displayed at Milan's Miart fair in 2022 without selling, after which it was never returned to the artist; four years of emails and WhatsApp messages produced nothing transparent or honest from the responsible party, in Gottgens' own description. When she publicized the situation on Instagram in July 2026, the post went viral, and SMAC Gallery made a payment of R297,500 (approximately $18,218) for three works shown at Miart — but then claimed ownership of the missing painting and asserted no return obligation. SMAC Gallery told ARTnews it had "facts to support our case," with Operations Manager Jean Butler attributing the situation to delays caused by import and export complications — though neither response changes the basic fact that an artist could not confirm the location of her own work for four years. Gabrielle Kruger's similar four-year effort to recover three works from the same gallery, and Jody Paulsen's out-of-pocket expense of €5,000 to €6,000 to retrieve her own Miart submissions, establish that Gottgens' experience reflects a pattern rather than an isolated incident. This is what it looks like when a market grows in commercial scale without developing the legal, contractual, and administrative infrastructure that makes that commercial scale safe for the creators whose work it trades.
Incorporation vs. Decolonization — What El Anatsui's Record Actually Represents
There's a distinction worth pressing here that most of the celebratory coverage quietly elided: incorporation into an existing system is not the same thing as transforming that system through decolonization. El Anatsui's $4.1 million sale was made possible by White Cube, a London-headquartered mega-gallery; it took place at Frieze New York, a fair organized by a British company in the American city that controls 44% of global art sales; the buyers were predominantly Western collectors; and the price-discovery mechanism is entirely embedded in Western financial and cultural centers. The materials of the works themselves are literally the residue of the colonial liquor trade — bottle caps from alcohol that entered West Africa along slave trade routes — making the objects explicit critiques of colonial extraction. That critique sold for a record price inside a system that operates on logic not entirely unlike the extraction being criticized, and it's striking that no major outlet named that irony. Sotheby's rebranding of its African art department closure as evidence of "maturity" follows the same pattern of favorable self-narration: a decision made on purely financial grounds gets wrapped in the language of cultural progress, and the art world accepts the framing because it's easier than the alternative. The Art Newspaper's observation that Sotheby's "dressed the decision in the language of maturity" is exactly right, and describes a tendency that African art will need to persistently resist if it is going to build something structurally durable.
Middle Eastern Fairs as Geographic Expansion, Not Structural Alternative
The proliferation of Middle Eastern art platforms — Art Dubai's 20th anniversary, the February 2026 debut of Art Basel Qatar with 87 galleries from 31 countries, and the November 2026 inaugural Frieze Abu Dhabi — has been received as evidence that the art world's geography is fundamentally shifting in a direction more favorable to African and Global South artists. The enthusiasm is understandable but the structural reality warrants scrutiny. Art Basel Qatar is operated by Art Basel, the Swiss-American organization that also runs Basel, Miami Beach, and Paris. Frieze Abu Dhabi is organized by the London-based Frieze that runs the London and New York fairs. El Anatsui's participation in Art Basel Qatar was arranged through London-based October Gallery — meaning that even at a fair positioned as a non-Western platform, the gatekeeping architecture remained Western. Egyptian artist Wael Shawky's role as Art Basel Qatar's artistic director is a meaningful data point in the other direction — a MENA-origin creative voice with genuine programming authority — but one artistic director title does not restructure an organization's ownership, funding, or institutional logic. The genuinely different model is the Nairobi-based Pan-African Architecture Biennale, operating in September 2026 with all 54 African nations and African leadership at every level, but it is an architecture event whose commercial-art-market implications are still speculative. Geographic diversification and structural power shift are different categories, and conflating them is precisely how the art world avoids the harder conversation.
Positive & Negative Analysis
Positive Aspects
- El Anatsui's Record Creates a Price Ceiling and a Commercially Significant Benchmark
$4.1 million is not just a number — it's a benchmark that changes the market conversation going forward, and that change is real. Price ceilings function as signals in art markets: they tell galleries, collectors, and auction specialists what is possible, and that information recalibrates future pricing across the entire segment in ways that benefit artists whose markets are adjacent. Under the standard 50/50 gallery-artist revenue split, El Anatsui likely received approximately $2.05 million from these two works — genuine, direct economic compensation at a scale that few African artists have previously achieved through primary market transactions alone. The fact that El Anatsui's prices surpassed Georg Baselitz at $1.4 million and James Turrell in the $900,000 to $1 million range establishes that African art can compete at the very top of the international contemporary market, not merely as an emerging segment but as a peer to the most established Western names. White Cube's status as the top-selling gallery at Frieze New York on the back of an African artist's work sends a commercially significant signal to other mega-galleries that representing African artists at the highest levels is not charity — it is a potentially winning commercial strategy. Individual precedents accumulate into market norms over time, and this precedent is as strong as any that has existed in this space.
- Middle Eastern Fair Expansion Opens Genuine New Access Points for African Artists
Whatever its structural limitations as a systemic alternative, the expansion of Middle Eastern art fair programming does open real new doors that did not previously exist. Art Dubai's 20th anniversary doubled African representation; Art Basel Qatar's debut included Africa-linked galleries such as Loft Art Gallery in Casablanca and Marrakech, Le Violon Bleu in Tunis, and Gallery Misr in Cairo, with MENASA artists comprising more than 50% of participants; and Egyptian artist Wael Shawky's role as Art Basel Qatar's artistic director represents the first time someone from within the MENA and African creative community has held genuine curatorial authority at a major Art Basel event. The November 2026 Frieze Abu Dhabi debut includes subsidies of up to 30% for newly participating galleries — a real financial incentive that lowers the cost of entry for galleries that have previously been priced out of the Frieze ecosystem entirely. These developments don't restructure the ownership of the platforms, but they do expand the geographic network available to African artists, diversify the collector base they can reach, and represent incremental movement away from an exclusively New York-and-London-centered art world. Geographic diversification isn't a structural solution to the market's core problems, but more access points are meaningfully better than fewer.
- The United Kingdom's 20-Year Resale Royalty Record Proves the Model Is Operational
One of the strongest arguments for expanding resale royalty protections to the United States and China is that the data from the United Kingdom is no longer theoretical — it is 20 years of concrete, documented results. DACS has collected more than £176 million since the Artist's Resale Right took effect in 2006, distributing £144 million across 6,997 artists and their estates, including £9.2 million in 2025 alone. The implementation uses a sliding scale from 4% on lower-value works down to 0.25% on higher-value works, capped at £12,500 per transaction — a design that prevents the scheme from functioning as a windfall for mega-stars while ensuring smaller-ticket resales still generate meaningful income for working creators. The revelation that 60% of payments were under £500 is particularly significant because it directly refutes the art market's standard lobbying argument that resale royalties predominantly benefit already-wealthy artists, showing instead that the scheme overwhelmingly serves creators at modest commercial scales. With roughly 90 countries now implementing some form of resale right, and Canada and South Korea targeting 2027 adoption, the global consensus is clearly moving toward this protection as an industry standard. The United Kingdom's documented success makes the continued American absence — in the world's single largest art market — look less like a policy choice and more like a structural failure of democratic accountability.
- The Pan-African Architecture Biennale as Proof of Concept for African-Led Platforms
The September 2026 Pan-African Architecture Biennale in Nairobi represents something genuinely new in the landscape of continental African cultural events: an African-organized, African-led platform at genuine continental scale, with participation from all 54 African nations and curatorial leadership from Somali-Italian architect Omar Degan. Its thematic framework — "a decolonized, African-led architectural future" combined with substantive engagement on climate change and vernacular indigenous knowledge — places it in direct conceptual opposition to the Western-institution-controlled platforms that currently dominate African cultural access to global audiences. The biennale format, combining exhibitions, installations, and keynote programming at the Kenyatta International Convention Centre, provides a large-scale event infrastructure model that, if successfully executed, could be adapted for visual arts at a similar continental scale. This matters because the most persistent structural critique of the African art market is not about individual talent or even individual institutions — it is about the absence of platforms that African artists and curators can access without requiring Western intermediaries to open the door. If a pan-African architecture event can run at this scale and establish international credibility on its own terms, the argument for a visual arts equivalent shifts from aspirational to operational. That would be a genuine inflection point in the market's structural history.
Concerns
- Sotheby's African Art Department Dissolution Marks Institutional Infrastructure Collapse
Sotheby's dissolution of its Modern and Contemporary African Art department in April 2025 — a department built over a decade under Hannah O'Leary — is not a minor organizational restructuring; it is the removal of the most significant specialized institutional infrastructure that the African art segment had within the world's major auction ecosystem. The framing of this decision as evidence of market "maturity" is directly contradicted by every available data point: the market had just experienced a 45% single-year collapse, specialist infrastructure is precisely what fragile markets need to maintain their footing, and "integration" into a general sale of hundreds of lots is far more likely to mean reduced visibility than amplified presence. Christie's, notably, has never operated a dedicated African art program at any point in its history, meaning that Bonhams is now the only major auction house maintaining an independent African art program. The loss of specialist catalogs, targeted collector education events, and dedicated preview programming may be invisible in short-term sales data but is likely to compound over the next two to five years as the African collector base that Sotheby's was actively cultivating finds itself without institutional support. When a market lacks dedicated specialists in the major houses, works go under-described, under-contextualized, and under-marketed — outcomes that translate directly into weaker hammer prices and slower market development. This is a structural regression that no amount of positive narrative framing can convert into a graduation.
- Tiwani Contemporary's Closure Severs the Mid-Career Artist Development Pipeline
The May 2026 closure of Tiwani Contemporary — which spent 15 years in London and Lagos representing African and diaspora contemporary artists, including MacArthur Fellow Njideka Akunyili Crosby and 2022 Venice Biennale artist Simone Leigh — is not a business failure story; it is a talent pipeline story with serious long-term consequences for the field. Specialist mid-size galleries perform a function that mega-galleries cannot replicate at scale: they discover artists before the broader market has priced them, invest in developing those artists over years, and provide the kind of sustained curatorial attention and critical framing that transforms emerging artists into internationally recognized figures with established market positions. White Cube can absorb El Anatsui, but it was galleries like Tiwani that created the conditions — the curatorial relationships, the critical discourse, the collector introductions — that made figures like Akunyili Crosby and Leigh into artists mega-galleries would eventually want to represent. Founder Maria Varnava's attribution of the closure to "rising operational costs and wider market uncertainties" describes a business model that proved structurally unsustainable even as the individual artists it championed achieved major international recognition and market success. The implication is troubling at a systemic level: the specialist African art gallery model that built the field over the past two decades may not be commercially viable in the current market structure, and no structural alternative yet exists to replace what these galleries do for artist development.
- African Art's 0.37% Market Share and Statistical Invisibility Signal Deep Structural Marginalization
The most honest measure of African art's position in the global market is not El Anatsui's record sale but the aggregate figure: African-born artists' combined annual auction revenue of approximately $77.2 million represents roughly 0.37% of the $20.7 billion global auction market, and 0.13% of the full $59.6 billion global art market. The figure circulating in some coverage claiming African artists account for "less than 2%" of the global market appears to conflate African-American diaspora artists with African-born artists — a category error that inflates the real figure by a factor of five or more; the actual share for artists born on the African continent does not approach 1%. Even more structurally revealing: the 2026 Art Basel and UBS Global Art Market Report, the industry's primary annual benchmark, does not track African art as a distinct market category at all, while devoting detailed analysis to the United States, United Kingdom, China, and France. This statistical invisibility is not a mere reporting oversight; it reflects a market reality in which Africa's collective output is too small to register at the macro level of the world's dominant market-reporting framework. The market's structural thinness also creates extreme volatility: a handful of exceptional transactions involving a single artist can shift the entire annual aggregate by 5% or more, making trend-reading essentially impossible without filtering for outlier events — which is not the statistical profile of an established market segment but of a peripheral one still searching for durable institutional footing.
- The Absence of United States Resale Royalty Law Creates Permanent Structural Disadvantage
The United States' status as the world's largest art market — accounting for 44% of global sales — combined with its complete absence of federal resale royalty protection for visual artists creates a structural disadvantage for African artists that no accumulation of price records can overcome on its own. When El Anatsui's works sell through the United States primary market, those works enter a secondary market where future appreciation generates zero legal obligation to the creator — a stark contrast to the United Kingdom framework under which the same works would generate resale royalties on every subsequent qualifying transaction, up to £12,500 per work. California's 1977 attempt at state-level resale royalty protection was rendered effectively inoperative by the Ninth Circuit Court of Appeals in 2018, which ruled it preempted by federal copyright law, and no state has since attempted a successor statute. H.R. 4017 — the most recent federal resale royalty proposal establishing a 5% royalty capped at $50,000 per work — has been introduced in some form four times since 2011 and has never cleared Congress, a record that reflects the sustained and effective lobbying power of galleries and auction houses against artist rights. African artists already operate at structural disadvantages in terms of market share, institutional support, and contract enforcement infrastructure; the legal absence of resale compensation in the market that processes nearly half of global art sales compounds every other disadvantage simultaneously. Without federal resale royalty legislation, the entire financial upside of an artwork's appreciation over time accrues to the seller alone — not one dollar to the artist whose decades of creative labor made that valuation possible.
Outlook
Honestly, the next six months will be critical for understanding which direction this market is actually heading. Right now it's standing on the rubble of the 2021 speculative boom — the cycle that inflated auction sales to $116.5 million before they cratered to $43.9 million in 2024, then partially recovered to $70.5 million in 2025. Whether that rebound holds is a question the market hasn't answered yet. The most immediate event to watch is the Pan-African Architecture Biennale in Nairobi, running September 7 to 11, 2026, at the Kenyatta International Convention Centre. Curated by Somali-Italian architect Omar Degan, with participation from all 54 African nations, this event could be a turning point — not for the sales market, but for the more fundamental question of whether Africa can build and run its own cultural platforms at continental scale.
If the Nairobi biennale succeeds on its own terms, it creates a template. Its conceptual framework is "a decolonized, African-led architectural future," with climate change and vernacular intelligence as core themes. Visual art isn't the immediate domain here, but if this kind of pan-African, Africa-run platform can establish itself as a credible international event, the argument for a visual arts equivalent becomes much harder to dismiss. That alone makes September 2026 worth watching closely — not for sales figures, but for proof of operational concept and organizational capacity.
November 2026 brings Frieze Abu Dhabi's inaugural edition, running November 19 to 22 at Manarat Al Saadiyat in Abu Dhabi. This is technically a rebrand — Abu Dhabi Art, which ran for 17 years, has been reconstituted under the Frieze name. The "Global Futures" section will focus on emerging and mid-career artists at the intersection of UAE and West Asian cultures, and newly participating galleries will receive subsidies of up to 30%. In the short term, this opens genuine new exposure opportunities for African artists and adds a node to the collector geography. The honest structural caveat remains: this is a London-based organization's expansion into a new geography, not a restructuring of who controls the platform.
On the pure sales front, my near-term read is cautious. The 2025 figure of $70.5 million represented a roughly 43% rebound from the 2024 trough, but sustaining that momentum requires more than one or two exceptional transactions. This market is structurally thin — a single El Anatsui or Julie Mehretu consignment can shift the annual total by 5% or more on its own. That degree of concentration isn't strength; it's fragility in momentum's clothing. I think 2026's second-half auction figures will land somewhere between $65 million and $80 million, but that range is largely dependent on whether specific high-profile works come to market, which nobody can reliably forecast from the outside.
The medium-term variable that matters most — six months to two years — is United States resale royalty legislation. H.R. 4017, the American Royalties Too Act of 2025, would mandate a 5% resale royalty collected by art market professionals on sales of $5,000 or more, capped at $50,000 per work. Congressman Jerry Nadler has been pushing versions of this bill since 2011. This is the fourth attempt, and it has never passed once. Gallery lobbying and auction house opposition are entrenched. My realistic probability for H.R. 4017 clearing the current Congress is under 15%. That said, the sustained persistence of the effort signals that the conversation in the United States has not been closed — and there is a precedent-setting dynamic now building from outside.
Roughly 90 countries currently have some form of resale royalty in place. Canada and South Korea are both pursuing 2027 implementation. If Canada acts first, the pressure on the United States intensifies considerably — there's a trade partnership logic that makes sustained American resistance look increasingly isolated as more of its economic partners adopt the right. For African artists, this isn't an abstract policy debate. The gap between zero dollars and 5% of a $20 million resale is career-altering money. The United Kingdom's 20-year track record — £176 million collected, distributed to 6,997 individuals — is the strongest available evidence that this system works in practice, not just in theory. The data exists. The argument is won on the merits. The obstacle is lobbying power, and lobbying power responds to pressure.
The post-dissolution trajectory at Sotheby's is another medium-term variable worth tracking carefully. When African works are folded into general contemporary auctions, the specialist catalog, the targeted collector education sessions, and the dedicated previews that bring the right buyers to the right works all disappear. The art gets diluted across a sale of hundreds of lots. Whether that dilution represents genuine "mainstream integration" or quiet erasure will be visible in Sotheby's auction data over the next two years. My honest expectation is that without dedicated specialists and dedicated programming, African works in general auctions will underperform on a relative basis — not because the art is weaker, but because the market-making infrastructure that creates price confidence has been removed. Bonhams, which still runs an independent African art program, will be a useful comparator.
Looking further ahead — two to five years — the fundamental question is whether African art achieves structural inclusion within the Western market system or develops genuinely alternative systems alongside it. My view is that both tracks will run simultaneously at very different scales. Within the Western system, a small number of elite artists — El Anatsui, Julie Mehretu, and a handful of others — will continue to set remarkable price records. But those records represent individual achievement within an existing system, not the system changing to reflect African art's actual weight. The benchmark for genuine structural change in the Western market is simple: African art getting its own category in the Art Basel and UBS annual report. I put the odds of that happening within five years at under 20%, because market share has not yet reached statistical significance in the framework the report uses.
The alternative-systems track is slower but more structurally interesting. The Pan-African Architecture Biennale is one data point. Small but growing art fairs and biennales in Lagos, Accra, and Nairobi are others. The intersection of digital sales platforms and blockchain-based provenance tracking has real theoretical promise — it could eventually create direct-to-collector paths that do not require Western gallery intermediaries. This is not an imminent reality, and the technology is not yet mature enough to function as a primary market mechanism. But the directional logic is sound, and the incentive to build it grows more compelling as African artists become more commercially significant on the international stage.
Let me put three scenarios on the table. In the bull scenario, H.R. 4017 passes or Canada's 2027 implementation creates enough political pressure to finally move United States legislation; the Pan-African Biennale model expands successfully into visual arts; African collector bases deepen meaningfully in Lagos, Nairobi, and Johannesburg; and the African art auction market reaches $150 million by 2030. I put this at 15% probability. In the base scenario, Middle Eastern fair expansion continues but remains Western-institution-controlled; H.R. 4017 fails again; the African art market oscillates between $60 million and $90 million annually; a handful of superstar artists capture the headlines while the mid-career ecosystem continues eroding. This is the 60% scenario. In the bear scenario, the post-bubble correction deepens structurally; Bonhams eventually discontinues its independent African art program; the generation after El Anatsui fails to produce widely marketable successors; and auction sales settle below $30 million annually. I put this at 25% probability, and what makes it genuinely unsettling is that several of its preconditions are already in place.
I should acknowledge where my analysis could be wrong. My biggest blind spot is the pace of domestic African collector development. I've been treating the African art market as almost entirely dependent on Western buyers, because that's what current data shows. But if high-net-worth individuals across Africa's major economies accelerate their entry into art collecting faster than I'm projecting, the dependency on Western gatekeepers could shift structurally without any change in Western laws. Lagos and Accra already have a small but growing domestic collector class. If that scales significantly, my base scenario is too pessimistic. I may also be underweighting the Art Basel Qatar development — Wael Shawky's role as artistic director means someone from within the MENA and African creative community holds genuine programming authority, not just a seat at a table someone else controls.
One practical takeaway before I close. If you want to understand what's actually happening to African art — not what the headline number suggests — stop watching the record-breaking sales and start watching three indicators instead: the year-over-year trend in aggregate auction volume for African-born artists; the congressional progress of H.R. 4017 or its equivalent; and whether Nairobi's Pan-African Architecture Biennale delivers the continental-scale African-led platform it is promising to be. The headline number tells you about one artist's exceptional career and one gallery's exceptional marketing. The three indicators I'm pointing to tell you about structure. African art's real future does not depend on when the next $4.1 million sale drops. It depends on whether 0.37% eventually becomes something that doesn't round to zero.
Sources / References
- Ghanaian artist El Anatsui dominates Frieze New York sales — Semafor
- Frieze New York: What Sold in 2026 — L'Etage Magazine
- On Missing Paintings, Market Records, and Who Really Controls African Art — Africa.com
- Artists Accuse SMAC Gallery of Withholding Artworks and Payments — Artforum
- Cape Town Gallery Accused of Withholding Pay and Artworks — Hyperallergic
- Trims to Sotheby's African Modern and Contemporary Art Department — The Art Newspaper
- Tiwani Contemporary to Cease Operations After 15 Years — The Art Newspaper
- H.R. 4017 — American Royalties Too Act of 2025 — Congress.gov
- UK Artist's Resale Rights at 20 — The Art Newspaper
- Art Basel and UBS Global Market Report 2026 Highlights Growth — Artlyst