THE RAP ON SOME BIENNIALS is that they don’t engage enough with the city that hosts them. There was no such problem at Dak’Art 2018, the thirteenth edition of Africa’s oldest and most prominent biennial. Jam-packed into one month—May 3rd to June 2nd—the thing was gargantuan, spreading across Senegal’s capital and beyond. Dakar’s old downtown, with its mix of colonial and postindependence buildings, was home to the main exhibition, organized by the Cameroonian scholar Simon Njami, who also directed the 2016 edition. Five exhibitions by guest curators, plus several country-focused shows (Egypt,

THEY SAY YOU CAN’T DO IT ALL. When it came to the fourteenth edition of Gallery Weekend Berlin and the second iteration of ArtMonte-Carlo—both of which opened on April 27 and ran until April 29—I did as much as I could. The organizers of the latter attempted a collaboration, ferrying collectors between the two sites via private jet and helicopter—not very Berlin, but very Monte Carlo. The idea was to coax the most coveted collectors from Monaco’s principality to Germany’s capital and vice versa. Not a bad idea given Berlin’s desire to entice the international elite.

The New York Times hosted the

IT’S HARD FOR ME to feel at home at most “gala season” events. For starters, I can’t hold my alcohol. I also start to feel a serious disconnect between my roots—as the Jersey-born offspring of a family of public school teachers—and the way certain sectors of the art world court the one percent. Not to mention the fact that soigné events almost never take place in my neighborhood.

But Wide Rainbow’s first annual gala on May 14 was the exception to the rule. The nonprofit organization, founded three years ago by Ashley Gail Harris, is a DIY female-empowerment engine providing free after-school arts

IN ELEMENTARY SCHOOL (primary school to this Brit), when candy was currency, anyone who showed up with some new or unusual confection ruled the roost—at least until the prize was shared, stickily, among a dozen instant mates or wolfed down defensively by its owner. So it was particularly impressive when a classmate arrived one Monday morning with three never-before-seen treats. The brands were familiar, but the bars themselves were prototypes—experimental trial runs for yet-to-be-released products. To our sugar-addled minds, they were gold. The source of the bounty? A parent’s visit to a food

A COOL BREEZE carried the thick aroma of brick-fired pizza and the tunes of DJ Maxwell Sterling over tank-topped and shorted Angelenos as they shifted from booth to booth, tucking books into bright yellow totes under the setting sun. Here was the Acid-Free Los Angeles Art Book Market—as chill and cozy as a backyard BBQ—spread across a parking lot and two floors of Blum & Poe, the capacious commercial gallery hosting the inaugural edition, which opened May 4 and ran until May 6. With the tragic death of its organizer Shannon Michael Cane, Printed Matter postponed the 2018 edition of its wildly

I OFTEN LAMENT how disparate visual art and music coverage can feel, save in pop-culture magazines, where the restrictive new-release plug rules, so it was an authentic pleasure to experience a four-day Coachella Valley arts journalism tour linking multiple cross-disciplinary events in this stark, gorgeous desert. With the Coachella Valley Music and Arts Festival as the intended centrifugal force, other excursions enlightened those wishing to visit this sand-duned, palm-treed, swimming-pooled, nine-city basin anytime of year, particularly when an extended winter tests one’s patience. Sun worship

TRUE CONFESSION: I’ve never been a Stevie Nicks fanatic, even though I adore some of the songs she recorded as a member of the iconic rock band Fleetwood Mac. It’s been years since I’ve felt the need to attend “Night of 1,000 Stevies,” the annual NYC love fest for her devoted fan following. The last time I went was when it was at the nightclub known as Mother, located in Manhattan’s then-desolate Meatpacking District. My memories are vague (and I’m showing my age)—Mother closed in 2000 and NOTS just celebrated its twenty-eighth anniversary.

But I rejoined the fray on May 4, at the old-fashioned

“IT’S SO EASY TO LAUGH, it’s so easy to hate. It takes guts to be gentle and kind.” These lyrics from my earnest misspent youth dogged me the night of May 2 as I listened to a conversation between the New York Public Library’s leading interlocutor, Paul Holdengräber, and author George Saunders, whose batty 2017 novel, Lincoln in the Bardo, recently won the Man Booker Prize. The refrain bothered me: Morrissey had once been a hero of mine but is now just a walking alt-right-wing meme. The hypocrisy enraged me, though I thought I shouldn’t care.

The idea of brave compassion, and the doubtful questions

ART FAIRS MIGHT BE A BIT like that moment before death, when your entire life flashes before your eyes. During a span of only days, everyone seems to bump into everyone they’ve ever known since, well, forever. Certainly, this was the case at the Milan Art Fair, or MiArt, which opened on April 13 and ran through April 15. Despite the bad weather, I was out and about on a Monday, several days before the fair’s official opening, to honor the artist Jimmie Durham. He is a beloved presence at the Fondazione Adolfo Pini, a refurbished nineteenth-century apartment building, where his current exhibition,

IF 2016, WHICH BEGAN WITH THE PASSING OF DAVID BOWIE and ended with the election of Donald Trump, felt like a year of death—of beloved musicians, celebrities, and democratic values—2017 was a year of outrage, not least in the art world. It started with fierce debates sparked by the Whitney Biennial’s inclusion of Dana Schutz’s painting Open Casket, 2016, a partly abstracted representation of the murdered, disfigured body of Emmett Till in his coffin; continued with the removal from the Walker Art Center’s Sculpture Garden of Sam Durant’s large outdoor sculpture Scaffold, 2017, intended to

WHEN BERENICE ABBOTT (1898–1991) began wrestling with a large-format camera to produce her iconic photographs of New York City in the early 1930s, she had to overcome a fear of heights in order to achieve a range of perspectives. On the top floors of skyscrapers, she could escape the interruptions of pedestrians, who would gather to watch her dive in and out of the bulky camera’s black focus cloth.

This month at the lion-guarded New York Public Library, curator Julia Van Haaften debuted her definitive biography of this “self-taught risk taker,” Berenice Abbott: A Life in Photography. From the

“IT’S THE BIGGEST ARTWORK my mother ever bought,” Sabine Langen-Crasemann told me of the Langen Foundation’s Tadao Ando–designed museum space in a field outside Düsseldorf. Her mother sold a 1951 Jackson Pollock to pay for the elegant glass structure, lined with cherry trees. If the parade of luxuriously stalwart Rimowa suitcases at the airport had not made it abundantly clear, we are not in cheaply uncheerful Berlin anymore. Welcome to the Rhineland: the densest landscape of private museums and collectors in Europe.

At Museum Ludwig on a Tuesday night, as Haegue Yang received the prestigious