The trail expands on the $1.4 billion tri-government investment reshaping Toronto’s waterfront through flood protection, environmental restoration and new public spaces. LAT’s curator, November Paynter, told Observer that the curatorial process began while the park was still under construction, with the team researching the site’s engineering, natural environment and history, before conducting studio visits with artists whose practices could respond to those conditions.

Josh Kushner’s Thrive Capital valued A24 at $3.5 billion in 2024. Two years later, a $400 million hit in ‘Backrooms,’ a $75 million Google A.I. investment and a two-year Dior partnership suggest his bet on a studio as a brand is paying off.

In conversation with Observer, the artist describes working without concept or deadline, the longing for completeness he borrowed from Kafka and how Marseille inspired him to embrace a broader palette.

When valuable works of art move between museums, galleries, shippers and temporary crews, chain of custody and access control are as important as alarms and physical barriers. Acre Security’s Kumar Sokka argues that the greatest risks emerge in the gaps between people, systems and moments of responsibility.

Director Rand Suffolk describes the museum’s role as involving both bonding and bridging: letting people see themselves in its collections while bringing Atlantans of different backgrounds together. He measures success by whether visitors leave seeing the world differently than when they arrived.

Marking his new collaboration with watchmaker Hublot, the artist describes how a small object like a watch can carry the same philosophical weight as a monumental sculpture. For Koons, the collaboration circles back to a familiar theme in his work: how objects help us understand our own place in time.

Director Nicole Garton says the fair, which connects artists directly to buyers without dealers, saw a 40 percent increase in sales at its previous Los Angeles edition: “At the emerging end of the market, people are still really interested in collecting directly from artists, and they’re buying in greater frequency and at higher price points than they have been.”

Born José Campos, the artist left El Salvador as a child and grew up undocumented in the U.S.—experiences that shape a practice spanning painting, sculpture and community-based projects. His new Armory Show works trace the history of the Salvadoran colón and the monetary exchanges that connect diasporic communities to the countries they’ve left behind.

The celebrated Nigerian-American artist and poet whose work can be found in institutions like the Museum für Moderne Kunst, LUMA Arles and the Rubell Museum sees ecological and colonial histories as inseparable. Their MoMA PS1 courtyard commission, “Among The Flowers I Learned to Love: A Garden of Decreation,” is encoded with childhood memories of safety and care, yet holds space for environmental and childhood fracture.

Under the dim lights of the Lower East Side’s Maison Nur, art world luminaries gathered to celebrate Observer’s Art Power Index—and each other. From the impassioned speeches to the sharp tailoring and Damien Hirst over the bar, the evening embodied our legacy of chronicling power with style.