Jackson Pollock at The Met, Roy Lichtenstein at the Whitney, and Constantin Brancusi at the Museum of Modern Art — our critic Aruna D'Souza is tired of this dead-White-men fest. That said, she still has a soft spot for Brancusi. She went to see the Romanian artist’s solo show at MoMA, and she has some thoughts.  

Speaking of dead White blokes, visitors to the MFA Boston will soon be able to watch a live conservation of Dutch painter Nicolaes Eliasz Pickenoy’s “The Six Founders of the Amsterdam Wine Guild” (1625). Watching paint dry never sounded so appealing.

In living-White-men news, Pace Gallery, owned by father-and-son duo Arne and Marc Glimcher, has reported steep losses. Meanwhile, a recently rediscovered Georgia O'Keeffe painting is heading to auction and might sell for millions.  

But if that’s all too exciting, get a load of the Met Gala's new “everyday” theme.

—Hakim Bishara, editor-in-chief

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News

• Georgia O'Keeffe's long-lost painting “Near Abiquiu, New Mexico I” was stashed in an East Village closet for decades. Now it might sell for up to $3 million.
• The Met Gala's new theme has been announced. Brace yourself for A-listers strutting down the red carpet in everyday garb like jeans, T-shirts, and “humble, even ‘disposable’ materials.”
• Visitors to the Museum of Fine Arts in Boston can soon watch the year-long restoration process of Nicolaes Eliasz Pickenoy’s “The Founders of the Amsterdam Wine Merchants Guild” (1625).
• Pace Gallery is struggling, Ebony L. Haynes joins Marian Goodman Gallery, longtime Manifesta director steps down, and more in Art Movements.

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ICYMI

For something that determines so much — about the art we make, the art we get to see or not, the art that may never be made at all — the issue of class is rarely discussed in the art world. Breaking the silence, artist and writer Mark Alice Durant speaks up in his memoir-cum-rebuke, Confessions of a Working Class Artist (2026). It reads both like a Künstlerroman and an updated version of the seminal guide for the aspiring artist, Rainer Maria Rilke’s Letters to a Young Poet (1929), for our dystopian neo-Gilded Age.

For Durant, also the author of the moving photographic memoir Summer of the White Fox, and After (2024) and publisher at Saint Lucy Books, which released both titles, choosing to become an artist was an act of self-exile. He writes that he psychically uprooted himself from the working-class precincts of Boston where he grew up as well as from his extended family, with the exception of his mother, unusually open-minded and supportive of her son. Perhaps she saw herself in his youthful gift of a framed reproduction of Jules Breton’s 1884 painting of a field worker, “The Song of the Lark.” After deciding on this path, Durant writes, “I could never return home on some level.”

Two months after British fashion designer John Galliano bowed out of his 2027 Met Gala and Costume Institute exhibition due to backlash over his racist past, organizers have decided to play it safe with the new theme announced today, November 5.

In perhaps the biggest recession indicator yet, extraOrdinary: Fashion and the Poetics of the Everyday will see A-listers and Hollywood's finest strutting down the red carpet in everyday garb like jeans, T-shirts, and "humble, even 'disposable' materials."

When The Met announced the Costume Institute exhibition John Galliano: Horizons in July, intense scrutiny resurfaced around the designer, who was convicted of antisemitic and anti-Asian hate speech directed at a French couple in February 2011, and fined for a torrent of antisemitic slurs against a woman the same year. A separate video of Galliano declaring “I love Hitler” caused Dior to fire the designer from his post as creative director in March 2011. Amid the renewed backlash, Galliano withdrew his exhibition on August 31.

Visitors to the Museum of Fine Arts (MFA) in Boston can soon watch the year-long restoration process of Nicolaes Eliasz Pickenoy's "The Founders of the Amsterdam Wine Merchants Guild" (1625).

Beginning on December 9, museumgoers can watch as conservators, scientists, art historians, and curators cycle through a pop-up studio in the MFA's Center for Netherlandish Art's Innovation Gallery.

Acquired last year, the group portrait depicts the six founding members of the lucrative Amsterdam Wine Merchants Guild, which operated until the late 18th century.

Art Movements, published every Thursday afternoon, is a roundup of must-know news, appointments, awards, and other happenings in today’s chaotic art world.

Rich People Problems

The beleaguered Pace Gallery is in the news again, this time after its United Kingdom tax filings revealed that it lost $5.4 million last year and has a $19.2 million debt-for-equity swap in the works with its US parent company. The filings also outlined plans made in 2025 to cut costs and reduce full-time positions.

The reports come in the wake of an abrupt downsizing over the summer, when the gallery laid off 50 workers and slashed 50 artists from its roster in one fell swoop. (Multiple Pace employees told Hyperallergic that they learned of the cuts only when the New York Times broke the story in early June; one artist said the gallery demonstrated "a callous breach of trust.") Additionally, Pace closed its Hong Kong gallery last October after 12 years and is still looking for a smaller space for its London outpost, which put its 8,600-square-foot location on the rental market in June.

Ebony L. Haynes Departs Zwirner

Nine months after Marian Goodman's passing at age 97, her namesake gallery has appointed Ebony L. Haynes as its inaugural senior director and global head of curatorial affairs. Haynes steps into the role after six years at David Zwirner, where she founded and led 52 Walker as a space run entirely by Black staffers. Under her leadership, the Tribeca gallery exhibited work by artists including Arthur Jafa, Cauleen Smith, Pope.L, and Gordon Matta-Clark. Marian Goodman Gallery also announced Rose Lord and Junette Teng, two of its longtime partners, as co-presidents.

What Else Happened?

• Estrellita B. Brodsky, Michael Govan, and Hank Willis Thomas received the annual Cultural Leadership Awards from the American Federation of Arts (AFA).
• Hedwig Fijen stepped down as director of Manifesta after 33 years at the biennial's helm. Emilia van Lynden and Catherine Nichols, appointed general director and artistic director, respectively, will jointly organize the next edition in 2028.
• Ade Omotosho, former assistant curator at the Dallas Museum of Art, was named associate curator at the Studio Museum in Harlem.
• Nolan Jimbo, former assistant curator at the Museum of Contemporary Art, Chicago, was appointed Arnhold associate curator at the Whitney Museum of American Art.
• Ido Radon won the Betty Bowen Award, which includes a solo show at the Seattle Art Museum in 2028.
• The Sundance Institute Cultural Impact Residency was awarded to documentary filmmakers Sara Chishti and Amin Pakparvar; fiction writer-directors Gabby Beans, Lydia Matata, and Rippin Sindher; and fiction film and episodic writers Pedro Eiras and Makisa Francis.
• The Vilcek Foundation awarded a total of $212,000 to 12 nonprofits across the United States, including the Japanese American National Museum in Los Angeles and Rhode Island Latino Arts. See the full list here.

Wildcard: A Blue Wave in Brooklyn

It has indeed been a beautiful week in the neighborhood. Brad Lander spent Halloween in a house costume made by his daughter, Rose, days before securing New York District 10’s House seat in the midterm elections on Tuesday; Queens-based organizer and artist Claire Valdez also won her race, becoming the first Native person to represent the state in Congress.

As one commenter observed, you gotta dress for the job you want!

Let’s get one thing out of the way first: For all my weariness about how canonical dead White men are STILL. CONSISTENTLY. CENTERED in museum exhibitions — even after said museums have publicly taken pains to expand collections, hire curators with broad expertise and interests, and invite new audiences into their spaces — I have ZERO complaints about putting on a Constantin Brancusi exhibition. Even in fall 2026, when the city’s three major museums have turned themselves over to Brancusi, Lichtenstein, and Pollock simultaneously. (I will go to my grave insisting that it should have been a Krasner show.) 

That said, the work of this particular canonical dead White man is glorious, and continues to resonate with contemporary artists: His name has come up consistently in interviews with sculptors this past year, whether Rodney McMillian or Martin Puryear or a number of others I’ve talked to. Brancusi: The Artist and His Studio at the Museum of Modern Art is a great reminder of why. More than a survey, it demonstrates the importance of this artist’s atelier as a place of creation, of exhibition, and of sociability, and includes his drawings, photographs, films, tools, and even some of the record albums he owned — reminders of the legendary dinner parties he used to throw there. 

Supported by a $14 million endowment from Maria Manetti Shrem, the critically engaged Art Studio Program at UC Davis offers generous funding for incoming graduate students. With exceptional opportunities for fellowships and awards, the recently renamed Maria Manetti Shrem Art Studio MFA provides students with spacious private studios so they can thrive in a vibrant, creative community as they work closely with internationally renowned faculty and visiting artists. 

As a research university, UC Davis provides MFA students with the opportunity to engage in intensive artistic work and interdisciplinary research while interacting with artists and scholars across campus. The program is committed to delivering an innovative educational curriculum to prepare graduates for professional public engagement in the arts, including arts education, exhibition and curatorial practices, and community-based work. The culmination of two years of study is presented in a thesis exhibition at the Jan Shrem and Maria Manetti Shrem Museum of Art.

Three visiting artist programs offer students first-hand exposure to artists, critics, and curators of note: The California Studio, Betty Jean and Wayne Thiebaud Lecture, and Visiting Artist Lectures Series. A select list of recent speakers includes Njideka Akunyili Crosby, Cecilia Alemani, Xu Bing, Helen Molesworth, Wangechi Mutu, Tania Candiani, Raúl De Nieves, Latoya Ruby Frazier, Lynn Hershman Leeson, Kota Ezawa, Sky Hopinka, Amelia Jones, and Hito Steyerl, among other innovative artists.

The Maria Manetti Shrem Art Studio MFA Program provides substantial financial support through paid teaching assistant positions, awards, and fellowships. UC Davis partners with prestigious professional programs, including the Headlands Center for the Arts, the Dedalus Foundation, Skowhegan School of Painting and Sculpture, and Tropical Lab residency in Singapore. 

For more information, visit arts.ucdavis.edu.

RSVP for the Virtual MFA Open House at 12pm (PST) on Friday, December 4, 2026.

The deadline to apply is January 5, 2027. Submit an application to arts.ucdavis.edu.

You think you know everything, and then all of a sudden, a virtually unknown Georgia O'Keeffe landscape emerges into the art history canon after spending decades boxed up in a New York City apartment closet. Just shy of a century old, O'Keeffe's long-lost “Near Abiquiu, New Mexico I” (1930) is slated to go under the hammer at Christie's 20th Century Evening sale on November 17.

Painted just one year after O'Keeffe's first visit to New Mexico, the rediscovered landscape work depicting Lobo Peak is likely one of three iterations the artist completed; the second in the series is in the Metropolitan Museum of Art's collection, and the third now resides in a private collection after having once belonged to David and Peggy Rockefeller.

Considered an important early work documenting O'Keeffe's growing love affair with the high desert, the artist's depiction incorporates her signature undulating contours and near-anatomical landscape features that seamlessly fuse a high-contrast palette of saturated earth tones.

So, what was it doing at the back of a closet in an East Village apartment for the last four decades?

In the face of decades of violence and erasure in Colombia, artist Doris Salcedo has made memory her medium. Senior Editor Valentina Di Liscia writes that her poignant sculptures evoke the victims of the devastating guerrilla conflicts “not by simply remembering or looking back, but by delicately articulating the contours of their absence.” Recently, the Colombian government drew ire for removing LGBTQ+, leftist, and feminist objects from the Museo Nacional in Bogotá, later reinstalled after public protests. Di Liscia spoke with Salcedo about the significance of that resistance, the generational wounds of political violence, and how Colombian artists are building paths forward, as they always have.

Meanwhile, artists around the world are grappling with the upcoming edition of the embattled documenta. Two anonymous artists who participated in the last iteration write candidly about the vicious attacks they endured from German media and politicians for opposing the genocide in Palestine. Their practical advice is for artists who are on the fence about showing their work at documenta 16, but it’s also an essential guide to navigating institutional networks that seek to quash meaningful political dissent, the very kernel of artmaking and creativity.

Today, we also report on an investigation into an Israeli airstrike in Lebanon that killed artist Ali Cherri’s parents in 2024, an overdue step toward justice, and the sentencing of Daniel Sikkema, who was found guilty of ordering the murder of his husband, gallerist Brent Sikkema.

More below, including glimmers of hope from the midterms — Claire Valdez will be your artist in Congress, after all.

—Lakshmi Rivera Amin, associate editor, books

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News

• France’s War Crimes Unit opens an investigation into a deadly Israeli airstrike in Beirut that killed the parents of French-Lebanese artist and filmmaker Ali Cherri.
• New York State Assemblywoman Claire Valdez, an artist, former cultural worker, and union organizer, is elected to represent New York’s 7th Congressional District.
• Two arts organizations remain concerned that one of New York City’s approved ballot measures could weaken review processes over public land usage, leaving areas such as landmark sites vulnerable to hasty sales and without sufficient community input.
• Daniel Sikkema is sentenced to life in prison for his role in the murder-for-hire of his estranged husband, New York art dealer Brent Sikkema.

Opinion

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From “the act of looking” to intelligent technologies, “Olivo Barbieri: Time Space Geometry” and “Haunted” explore how images shape our perception of reality. Opening September 19, 2026.

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From Our Critics

In Memoriam

Hyper Links

• Brandon Taylor discusses his 2025 novel Minor Black Figures, an indictment of the art world’s racist essentialism toward the work and lives of Black artists. [LitHub]
• Voters in Providence overwhelmingly approved a ballot measure to restrict municipal investments connected to human rights violations after citizens against the genocide in Gaza organized a petition. [Rhode Island Current]
• The Pope met the bard (Bob Dylan), who, for some reason, refused to remove his hoodie. [CNN]

From the Archive

Daniel Sikkema, 56, has been sentenced to life in prison for his role in the murder-for-hire of his estranged husband, New York art dealer Brent Sikkema, the United States Attorney's Office for the Southern District of New York and the Federal Bureau of Investigation (FBI) announced today, November 4.

Brent Sikkema, the 75-year-old co-owner of the Manhattan gallery Sikkema Jenkins & Company, was found dead in his Rio de Janeiro residence in January 2024. He was stabbed 18 times. Two months after the incident, Daniel Sikkema was arrested in Manhattan on charges of passport fraud and later received additional counts of murder-for-hire, conspiracy to commit murder for hire, and conspiracy to murder a person in a foreign country. A federal jury found him guilty on those charges following a two-week trial in May.

"Today’s life sentence holds Daniel Sikkema accountable for a cold, calculated murder-for-hire plot that resulted in the murder of his husband, Brent Sikkema,” US Attorney Jamie McDonald said in a press release. Daniel Sikkema was also sentenced to five years of supervised release.

“For months, the defendant manipulated friends, family, and employees to execute a killing driven by greed. His actions demonstrated a profound disregard for human life and the rule of law," McDonald continued.

Daniel Sikkema had paid the couple's former security guard, Alejandro Prevez, to kill his husband as their divorce proceedings dragged on. Shortly after the fatal stabbing, Daniel Sikkema sent $5,000 to Prevez and promised future payments. The former security guard was arrested by Brazilian law enforcement four days after the murder and still awaits charges in Brazilian courts, according to the press release.

Brent Sikkema co-founded Sikkema Malloy Jenkins (then called Sikkema Jenkins Gallery) with his business partner, Michael Jenkins, in the early 1990s, where he showed artists including Kara Walker, Sheila Hicks, and Vik Muniz. The gallery currently represents more than 30 artists.

Over the past few months, several artist friends who have been invited to participate in the upcoming documenta 16 have contacted us for advice, asking whether they should accept, refuse early on, or accept for now and withdraw at a later stage. As two artists who participated in documenta 15, we understand the dilemma. An invitation to documenta is not something one receives thoughtlessly. It is hard to turn down, and these days, it is also becoming hard to accept.

A few years ago, exhibiting at documenta was considered a lifetime achievement. But after the multi-faceted attacks on Palestinian artists and works of pro-Palestinian art at documenta 15 — and the collapse of the German state’s moral standing through its support for the genocide in Palestine and considering Israel its Staatsräson (“reason of state”) — this assumption has been shattered. There is no meaningful distance between the German state and its art institutions: Almost every museum, Kunsthalle, and festival, documenta included, is funded by the federal, regional, or municipal government, and thus steered by the conditions those funders set. As such, artists have to seriously ask themselves whether participating in documenta 16 will negatively affect one's career and well-being. 

Our friends ask us for advice because of what the two of us, among many others, went through during documenta 15. We were subjected to severe and vicious attacks by the German media, political activists, politicians, and the establishment, built on unfounded, fabricated, and destructive accusations of antisemitism, which eventually led to attacks and vandalism of our exhibition venues, alongside those of other artists. This experience left scars on our lives and careers, making it hard to apply for jobs, funding, or exhibition opportunities. The stress and burnout we had to endure as a result of these attacks were enormous, and the energy it took came from our work and our lives — that toll can’t be overstated. This is why we decided to stay anonymous in this piece: to avoid any return to the stress and fear we had to deal with, which still haunts us even after nearly five years. 

To those friends who are asking, and others who are wondering, we will not tell you whether to participate in documenta 16 or not. This is your own decision about what you wish to lend your voice to — personally, politically, creatively. But we can tell you what we wish we had known, and what you need to consider when you make your choice.

Since the beginning of the current genocide in Palestine, the German cultural scene has been in crisis. It has lost its credibility and shown how much it functions as the soft hand of state power. It has no independence from state politics and is unable to stand up against the position of the state due to the way arts and culture are funded in Germany. In 2019, the Bundestag passed a non-binding resolution calling for federal funding to be withheld from any organization or project that supports Boycott, Divestment, Sanctions (BDS). Non-binding as it was, it became a political tool to suppress any institutional support for the Palestinian cause. Another resolution in November 2024 tied public funding to the International Holocaust Remembrance Alliance’s controversial definition of antisemitism — which documenta officially adopted in early 2025. The rest of Germany’s major cultural institutions, except for a few independent ones, bent with little resistance. Like the others, documenta depends on state and federal funding; and like the others, it has no spine. German institutions are struggling to emerge from this crisis and regain their credibility without revising their positions or standing up to political pressure. At this point and under these conditions, documenta as an institution will likely benefit more from your participation than you will.

Near the start of the High Line in Manhattan, a short film screening to the public above 14th Street dances around the history of the Westbeth Artists Housing complex, a stone's throw away from the park. While clearly drawn from extensive research and intrigue, Alison Nguyen's 14-minute film “Prior Occupants” (2026) skates on vague fragments of information that do better to incite curiosity rather than illustrate outright.

Have you ever sat through a lecture while feverishly looking up the keywords being mentioned to appear less woefully out of the loop? Nguyen begins by paging through confidential files attributed to the American industrial development company Bell Laboratories, but does little to explain their significance beyond fleeting references to the company's involvement in the Manhattan Project and developing components for ballistic missiles.

France's War Crimes Unit has opened an investigation into a deadly Israeli airstrike on French-Lebanese artist and filmmaker Ali Cherri's family home in Barbour, Beirut. The investigation emerges seven months after the artist filed a complaint accusing Israel of war crimes with the office, as the 2024 strike on the residential building killed both of his parents, the domestic worker they employed in the apartment Cherri owned, and at least four other civilians living in the building.

In a February report on Israeli war crimes in Lebanon, Amnesty International stated that Israeli forces had no evidence of a verifiable military target at the site of the strike, and concluded that Israeli forces failed to issue an evacuation warning to civilians before conducting the strike on the 12-story apartment building on November 26, 2024 — less than 12 hours before the temporary ceasefire between Hezbollah and Israel came into effect. Constructed by the Cherri family, the building suffered structural damage localized to the eastern apartments on the 7th to 10th floors. Cherri's late parents, Mahmoud Naim Cherri and Nadira Hayek, as well as domestic worker Birki Negesa, were found in the wreck of the artist's ninth-floor apartment where they resided.

Cherri and his legal representatives at the International Federation for Human Rights (FIDH) also commissioned the London-based investigative research agency Forensic Architecture to digitally reconstruct the apartment building based on the artist's and neighboring witnesses' documentation of the site post-strike. Both Amnesty International's and Forensic Architecture's findings informed Cherri's complaint accusing Israel of war crimes by “intentionally directing an attack against a civilian object.”

Two arts organizations remain concerned that one of New York City's approved ballot measures could weaken review processes over public land usage, leaving areas such as landmark sites vulnerable to hasty sales and without sufficient community input.

All five ballot measures passed with strong support in yesterday's midterms, though the Municipal Art Society (MAS) of New York and the New York Landmarks Conservancy objected to parts of Proposal 3, which expedites the review of eligible projects in three areas: street safety construction, the sale or leasing of city-owned property, and the acquisition of office space for city employees.

Both groups, along with organizations such as the League of Women's Voters, have expressed varying levels of agreement with its three bundled target areas and called for them to be considered separately for independent review.

The measure is one of five put forth by the Commission on Government Efficiency, a 15-member panel assembled by Mayor Zohran Mamdani. All items aim to streamline city operations through revising the City Charter, such as reducing city contractor paperwork and setting aside a rainy-day fund in case of emergency.

"New York has had a strong tradition of public participation and robust debate, and over time, that's been chipped away," Andrea Goldwyn, the director of public policy at New York Landmarks Conservancy, told Hyperallergic.

Goldwyn's primary concern is with the second prong of Proposal 3, which reduces public review when the city sells or transfers unused development rights at landmark sites. Originally, most sales or leases of city-owned property underwent a seven-month review process called the Uniform Land Use Review Process (ULURP) and required City Council's final approval.

Proposal 3 allows projects not believed to have a sizeable impact on the surrounding environment to bypass final City Council approval and go through a 90-day fast lane called the Expedited Land Use Review Procedure (ELURP). Projects approved for ELURP can be concurrently reviewed by community boards and borough presidents, and city-owned landmarked property can be sold without City Council approval. Undevelopable land can additionally be sold to owners of adjacent properties without a public auction.

"In proposing ELURP for small lots we are not fundamentally changing the City's authority," a spokesperson from the mayor's office told Hyperallergic. The shorter process instead aims to "untrap these currently unused, surplus lots."

The proposal also excuses the Department of Transportation (DOT) from notifying elected officials and community boards before starting major projects deemed necessary for safety, and can instead notify those stakeholders when construction commences. Consultations with the Police Department, Fire Department, the Mayor’s Office for People with Disabilities, and the Department of Small Business Services remain mandatory.

"We've gotten calls from people who see new projects going up in their neighborhoods that they didn't know about," Goldwyn continued. "I think we're going to be seeing more of that because people aren't going to have the kind of notification they're used to having."

The final part of the proposal removes hearing requirements and approvals from the City Council and the City Planning Commission about acquiring or leasing office space for city employees, instead leaving it solely to Yume Kitasei, the commissioner for the Department of Citywide Administrative Services. Local community boards and all five borough presidents must still be notified of each proposal.

In an earlier statement, MAS stated that trimming down these review processes "could make it easier to sell or transfer valuable public land and development rights without sufficient safeguards to ensure lasting public benefits."

MAS called for a stronger framework that determines how public lands can be used. Such recommendations include prioritizing land for parks, affordable housing, and other projects that serve the public, rather than selling or leasing land to parties with unclear interests.

"Streamlining government processes should not come at the expense of public accountability or lasting community benefits," the statement adds.

Per the mayor's office, the proposal addresses "small, unused, surplus properties that have been offered to, and declined by, all City agencies."

"These pieces of land are not community gardens nor parks nor apartments, nor are they suitable for such," the spokesperson continued. "They are properties that were once used for municipal purposes, but do not meet modern agency needs or standards."

Editor’s Note, 11/5/2026, 10:54am EST: This article has been updated with a comment from the New York City Mayor’s Office.

In Memoriam honors those we recently lost in the art world.

Miquel Navarro (1945–2026)
Spanish sculptor of imaginary cities

The Spanish artist's hometown, Mislata in Valencia, served as a lifelong inspiration for his City sculptures, large-scale installations that invite visitors to walk through hundreds of abstract geometric shapes as skyscrapers. Fittingly enough, his imaginary cities became part of real urban landscapes, in the form of public works in Spain and abroad.

He was one of the artists to represent Spain at the 1986 Venice Biennale, and received the Spanish Ministry of Culture's Premio Nacional de Artes Plásticas (National Award for Plastic Arts) that same year. His work is in the collections of the Guggenheim museums in New York and Bilbao, Museo Reina Sofía, Centre Pompidou, and more.

"Today Mislata loses one of its most beloved residents, a friend and a genius," Mislata Mayor and President of Fundació Miquel Navarro Carlos Fernández Bielsa said in a statement translated from Spanish, "a generous person and a world-renowned figure in sculpture, an irreplaceable creator."

Ursula von Rydingsvard (1942–2026)
Sculptor of monumental objects

Partially inspired by her childhood incarceration in post-World War II refugee camps, her enormous sculptures were whittled from massive cedar beams, including “Cedrus” (2016), an almost 20-foot-tall (~6 m) tornado made from 15,000 pounds (~6.8 t) of wood. Her work is in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, and more.

“She was like the sun," Courtney Childress, her studio manager, said in this statement. "She was this force that pulled people in and kept them orbiting around her.”

Read the obituary