Marian Goodman, the best of gallerists (1928

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Carolyn Christov-Bakargiev remembers the dealer Marian Goodman

She left us with elegance, preparing her grand exit for years, it seems to me. When I learned of Marian Goodman's departure last week at the age of 97, I was sitting in the lobby of an old refurbished hotel in Palo Alto and although my breath stopped short, as it does in such moments, I also felt a sense of tenderness at the thought that she was nearby.

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Can humans make art in an alien world? Will Wiles watches Pluribus

Pluribus is post-apocalyptic through and through: the world, our world, has ended and, even if the virus was somehow cured, it won't come back. But the show is wonderfully ambivalent about the new world, a dystopia with utopian characteristics, or vice versa; or just a dreadfully flawed state of affairs that combines beauty and horror – much like what came before, but terribly alien.

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Tim-Smith Laing on the Frenchman who reinvented the Middle Ages

Nearly 150 years after his death, Eugène-Emmanuel Viollet-le-Duc is a figure whose reputation might, at best, be termed complicated. During his lifetime, he was the prime restorer of France: the master of its Gothic revival and the saviour of monuments such as Notre-Dame, Carcassonne and the Château de Pierrefonds. In the decades after his death figures including Anatole France and Auguste Rodin lined up to condemn him for 'defiguring' and committing 'sacrilege' against the very same buildings. At best he was a revivalist, at worst a vandal; and the transformed buildings he left behind were exercises in inauthenticity.

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Peter Strickland on Béla Tarr's ravishing studies of apocalyptic doom

Tarr is often compared with Andrei Tarkovsky but although their films share a meditative dimension, Tarr's work is bereft of Tarkovsky's ecclesiastical leanings. In Tarr's world, church bells might ring, but God doesn't want to know. Narcissists and demagogues have taken God's place, and this, beyond the textural and structural thrills that continue to wow audiences, is what roots Tarr's work in the real world.

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Isabella Smith on the freakish ceramic forms of Axel Salto

A bespectacled man stands inside a kiln, its curved brick arch framing the scene. Before him – and, seemingly, looking back at him – is a curious knobbly thing. That thing is The Core of Power (1956), a ceramic sculpture by the Danish artist Axel Salto. With three prehensile-looking spouts (or perhaps snouts), it recalls a triffid – a monstrous carnivorous plant imagined by John Wyndham a few years earlier in his science fiction novel The Day of the Triffids (1951). This photograph greets visitors to 'Playing with Fire: Edmund de Waal and Axel Salto' at the Hepworth Wakefield, as does a smaller version of the thing itself, contained (for our safety?) in a vitrine at the centre of the first room.

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In the current issue…

Claire Barliant meets Miami collectors Jorge and Darlene Pérez, who are now looking further afield

One of the first things you encounter upon entering Jorge and Darlene Pérez's Miami penthouse – even before the panoramic ocean view, or the beautifully designed furnishings, or the museum-worthy art collection tastefully distributed throughout the rooms – is an exuberant Labradoodle named Tamayo. Darlene jokingly refers to him as the family's most precious prize. No doubt Tamayo offers ample distraction from the absence of a treasured Joan Mitchell painting, Iva (1973), which the couple donated to Tate Modern in 2025.

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Marian Goodman, the best of gallerists (1928–2026)

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