7 galleries · 0 museums · 0 places
No published museums in this district yet.
No published places in this district yet.
The publisher's first West Asian venture brings global heavyweights and regional pioneers to Saadiyat Island
Frieze debuts in Abu Dhabi with an 84-gallery roster, shifting focus from local development to transnational exchange ahead of its November launch.
A comprehensive survey at the Fondation Louis Vuitton reuniting collected masterpieces with the designer's own studio practice.
The Paris institution expands its patronage series with a dual-focused examination of Gustave Fayet, bringing together hundreds of acquired works and restored creations to chart his impact on early modernism.
Five international practices compete to transform the Marais courtyard into a dedicated outdoor gallery by 2030
The Musée National Picasso‑Paris has announced its shortlist for a major landscape architecture competition, marking a pivotal moment for the institution's expanding engagement with public space and three-dimensional art.
Aladdin has no Arabic manuscript older than its French translation. Behind the gap stands a young man from Aleppo, catalogued for a century as anonymous.
The most famous "Arabian" tale in the world is missing from the oldest Arabic manuscript of the Thousand and One Nights — because before a French translator wrote it down in Paris, there was no manuscript of it to be missing from.
How Abu Dhabi took one of the West's most contested ideas — the museum that claims to hold all of humanity — and moved the question of who gets to frame the world
A portolan chart in the floor, three ewers without a hierarchy, and a $450-million Leonardo no one has seen since it was bought. The Louvre Abu Dhabi is a French–Emirati experiment in what the universal museum becomes when it is rebuilt from a different centre — and whether that moves the centre, or merely moves the Louvre, is the question the building leaves open.
How a French painter lent his surname to a blue that Morocco had been dyeing, firing and painting for centuries — and what that tells us about who gets to own a colour.
Everyone repeats the same tidy line: a painter fell in love with Marrakech, invented an electric blue, and trademarked it. Almost every clause is a simplification. The colour was already deep in Morocco's visual language — in indigo, in the cobalt of Fez, in the blue of zellige — long before Jacques Majorelle poured it over a single studio wall. What he actually did was rarer and stranger: not invent a colour, but compose a place, and attach a name to a hue no one can truly own.
