In May, the Venice Architecture Biennale announced that this year’s edition would be postponed until 2021 due to Covid-19—next year’s Art Biennale, in effect, would be delayed until 2022. Though the show won’t proceed as planned, not all programming is off the table. The Biennale will celebrate its 125th anniversary by staging “The Disquieted Muses. When the Biennale Meets History,” a landmark show about the Biennale’s fraught history across six departments: art, architecture, cinema, dance, music, and theater.

“Interdisciplinary collaboration is completely new for La Biennale,” says Cecilia Alemani, curator of the 2022 edition. “In particular, we will focus on when the institution clashed with different moments in Italian and world history, be it crisis and war, but also when it was faced with the introductions of new languages and transformations of the biennial itself.” The vast majority of the exhibition will draw from the Historical Archives of Contemporary Arts in Venice, as well as Tate Modern and the Peggy Guggenheim collection, and will include letters, contracts, video, photographs, and sketches.

“The Disquieted Muses. When the Biennale Meets History,” which will take place from Aug. 29 to Dec. 8 at the central pavilion of the Giardini, will be organized into several rooms with displays designed by Formafantasma. One section highlights the work of the Futurists during the years of fascism between 1928 and 1945; another examines Peggy Guggenheim’s breakthrough show of her collection at the Greek pavilion, which was credited with introducing modern art to the then-traditional show. Despite the exhibition’s historical significance, its organizers currently have no plans to present it online.

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At first glance, the paintings of Susan Vecsey evoke both Color Field masterworks and landscapes, though they’re neither one nor the other—each work toes a fine line between abstraction and representation. This quality informs “In Between,” a solo exhibition of 15 of her latest paintings at Berry Campbell Gallery in New York. To create her works, which were inspired by painters like Henri Matisse and Mark Rothko, Vecsey applies multiple layers of oil paint to linen surfaces. The results are compelling compositions that are filled with ideas about perspective, repetition, and arrangement.

In December, during Art Basel Miami, Dior presented its pre-fall Dior Men collection across from the new Rubell Museum. The gargantuan temple of contemporary art, helmed by Mera and Don Rubell, had also recently named the Ghanaian painter Amoako Boafo as its inaugural artist-in-residence. A rising star who is represented by Mariane Ibrahim Gallery and Roberts Projects, Boafo has garnered acclaim for his mesmerizing, large-scale portraits of finger-painted figures that, in his words, “document, celebrate, and show new ways to approach Blackness.”

Boafo’s work resonated with Dior men’s artistic director Kim Jones, who spent his childhood travelling through Africa and had been wanting to collaborate with an African contemporary artist. After an introduction by Mera, he travelled to Ghana to visit Boafo’s studio. “I could just see his work turning into things in front of my eyes,” says Jones, referring to Dior’s Spring/Summer 2021 collection. Called “Portrait of an Artist,” it’s the latest of the French label’s recent string of artistic collaborations, which have become a key fixture of Jones’s tenure.

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A new study commissioned by New York’s Department of Cultural Affairs and executed by Southern Methodist University’s DataArts has discovered that local arts organizations have lost more than half a billion dollars since the coronavirus pandemic broke out in March. More than 25 percent of the 810 surveyed organizations, which include museums and performing arts venues, have reduced their workforce (resulting in more than 15,000 furloughs and layoffs), and 11 percent don’t expect to survive after next year.

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Put reality on pause with these examples of photoshopped architecture.

This website lets homebound users peek outside of the world’s windows.

Patrick Onyekwere’s hyper-realistic portraits are made using a ballpoint pen.

Faye Toogood’s new lamp uses a bioplastic derived from shellfish waste.