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artforum
Artforum
Defining the world of contemporary art since 1962
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Absurd yet seductive, absorbing yet repellent—a vintage-kitsch Las Vegas boudoir appears on the May 2026 cover of Artforum. It comes from the Ho Château, home to Carlotta Champagne, Vegas’s self-styled “Queen of Kitsch.” She’s assembled a collection of ’60s and ’70s novelty items “so vivaciously idiosyncratic that the total effect borders on other-dimensional,” writes Olivia Kan-Sperling. “The house is dizzyingly animate, like a video game where every object is a glowing grail.” Kan-Sperling transforms her immersion into this “world without background” into a treatise on the premise and promise of aesthetic experience.
Also in the issue:
—Ei Arakawa-Nash on Japanese pop star Yumi Matsutoya
—Harmon Siegel on art writing in times of crisis
—Gracie Hadland on hustler-dealer Jenny Borland
—Glenn Adamson on the contested legacy of totems and “the totemic”
—Pauline J. Yao on Hong Kong video art pioneer Ellen Pau
—Simon Denny on the fascist aesthetics of Palantir
—Horace D. Ballard on the afterlife of Confederate monuments
—Paul Chan on ICE and the politics of sound
+ more
On the cover: Carlotta Champagne’s Ho Château, Las Vegas, 2026. Photo: Chase Stevens.
@dianadiagram @carlottachampagne @ei.arakawa.nash #HarmonSiegel @gracies__office @glenn_adamson #PaulineYao #SimonDenny @horaceballard #PaulChan
Ana María Hernando, Cantando bajito, 2025, tulle, wood, metal lattice, wool, 72 x 54 x 24" @friezeofficial, Booth D09 @institutodevision, through May 17.
@anamariahernandoart
#institutodevisión
#Frieze
Robert Barry, Untitled (NOW & THEN), 2026, acrylic on wood panel @newartdealers, Booth C4 @timothyhawkinsongallery, though May 17.
#RobertBarry
#TimothyHawkinsonGallery
#NADA
Duke Riley, It's Coming Through a Hole in the Air, 2017, ink on canary paper, 130 1/2 x 100 1/4 inches, @tefaf, booth 363, @galerievallois, through May 17.
@dukerileystudio
#DukeRiley
#GalerieVallois
#TEFAF
Jenny Borland, the “hustler-dealer” behind the New York gallery Jenny’s, has no gallery Instagram—just her personal account, @jennykaraoke, with “NYC BABY” in the bio. In Artforum's May issue, Gracie Hadland grabs martinis with Borland to ask how a gallery founded (with Mathew Sova) on a whim—“if this fails we can turn it into a bar or a flower shop”—became a vital part of the downtown scene. The answer has to do with closing the distance between dealer and artist, and refusing every instinct toward professionalization, while staying glued to the social fabric: "If you don't participate in it, you're nobody. But it's fucking exhausting."
Link in bio.
Images:
––Jenny Borland’s business card, 2023. Designed by Irina Cocimarov.
–Pentti Monkkonen, Hair Nails (pink), 2016, wood, sand, acrylic, aluminum, and plexiglass on canvas, 49 × 85”. From “Pentti Monkkonen: Mur Murs,” 2016, Jenny’s, Los Angeles. Photo: Jeff McLane.
–View of “Sex is [Censored] Part 3 Le Pissoir du La Perle,” 2022, Jenny’s, New York. Photo: Joerg Lohse.
–View of “Miriam Laura Leonardi: Exhibition with View,” 2022, Jenny’s, New York. Photo: Carter Seddon.
@gracies__office
@jennykaraoke
@penttigram
@mll97_maladie
#JennyBorland
#MathewSova
Jenny Borland, the “hustler-dealer” behind the New York gallery Jenny’s, has no gallery Instagram—just her personal account, @jennykaraoke, with “NYC BABY” in the bio. In Artforum's May issue, Gracie Hadland grabs martinis with Borland to ask how a gallery founded (with Mathew Sova) on a whim—“if this fails we can turn it into a bar or a flower shop”—became a vital part of the downtown scene. The answer has to do with closing the distance between dealer and artist, and refusing every instinct toward professionalization, while staying glued to the social fabric: "If you don't participate in it, you're nobody. But it's fucking exhausting."
Link in bio.
Images:
––Jenny Borland’s business card, 2023. Designed by Irina Cocimarov.
–Pentti Monkkonen, Hair Nails (pink), 2016, wood, sand, acrylic, aluminum, and plexiglass on canvas, 49 × 85”. From “Pentti Monkkonen: Mur Murs,” 2016, Jenny’s, Los Angeles. Photo: Jeff McLane.
–View of “Sex is [Censored] Part 3 Le Pissoir du La Perle,” 2022, Jenny’s, New York. Photo: Joerg Lohse.
–View of “Miriam Laura Leonardi: Exhibition with View,” 2022, Jenny’s, New York. Photo: Carter Seddon.
@gracies__office
@jennykaraoke
@penttigram
@mll97_maladie
#JennyBorland
#MathewSova
Jenny Borland, the “hustler-dealer” behind the New York gallery Jenny’s, has no gallery Instagram—just her personal account, @jennykaraoke, with “NYC BABY” in the bio. In Artforum's May issue, Gracie Hadland grabs martinis with Borland to ask how a gallery founded (with Mathew Sova) on a whim—“if this fails we can turn it into a bar or a flower shop”—became a vital part of the downtown scene. The answer has to do with closing the distance between dealer and artist, and refusing every instinct toward professionalization, while staying glued to the social fabric: "If you don't participate in it, you're nobody. But it's fucking exhausting."
Link in bio.
Images:
––Jenny Borland’s business card, 2023. Designed by Irina Cocimarov.
–Pentti Monkkonen, Hair Nails (pink), 2016, wood, sand, acrylic, aluminum, and plexiglass on canvas, 49 × 85”. From “Pentti Monkkonen: Mur Murs,” 2016, Jenny’s, Los Angeles. Photo: Jeff McLane.
–View of “Sex is [Censored] Part 3 Le Pissoir du La Perle,” 2022, Jenny’s, New York. Photo: Joerg Lohse.
–View of “Miriam Laura Leonardi: Exhibition with View,” 2022, Jenny’s, New York. Photo: Carter Seddon.
@gracies__office
@jennykaraoke
@penttigram
@mll97_maladie
#JennyBorland
#MathewSova
Jenny Borland, the “hustler-dealer” behind the New York gallery Jenny’s, has no gallery Instagram—just her personal account, @jennykaraoke, with “NYC BABY” in the bio. In Artforum's May issue, Gracie Hadland grabs martinis with Borland to ask how a gallery founded (with Mathew Sova) on a whim—“if this fails we can turn it into a bar or a flower shop”—became a vital part of the downtown scene. The answer has to do with closing the distance between dealer and artist, and refusing every instinct toward professionalization, while staying glued to the social fabric: "If you don't participate in it, you're nobody. But it's fucking exhausting."
Link in bio.
Images:
––Jenny Borland’s business card, 2023. Designed by Irina Cocimarov.
–Pentti Monkkonen, Hair Nails (pink), 2016, wood, sand, acrylic, aluminum, and plexiglass on canvas, 49 × 85”. From “Pentti Monkkonen: Mur Murs,” 2016, Jenny’s, Los Angeles. Photo: Jeff McLane.
–View of “Sex is [Censored] Part 3 Le Pissoir du La Perle,” 2022, Jenny’s, New York. Photo: Joerg Lohse.
–View of “Miriam Laura Leonardi: Exhibition with View,” 2022, Jenny’s, New York. Photo: Carter Seddon.
@gracies__office
@jennykaraoke
@penttigram
@mll97_maladie
#JennyBorland
#MathewSova
Jenny Borland, the “hustler-dealer” behind the New York gallery Jenny’s, has no gallery Instagram—just her personal account, @jennykaraoke, with “NYC BABY” in the bio. In Artforum's May issue, Gracie Hadland grabs martinis with Borland to ask how a gallery founded (with Mathew Sova) on a whim—“if this fails we can turn it into a bar or a flower shop”—became a vital part of the downtown scene. The answer has to do with closing the distance between dealer and artist, and refusing every instinct toward professionalization, while staying glued to the social fabric: "If you don't participate in it, you're nobody. But it's fucking exhausting."
Link in bio.
Images:
––Jenny Borland’s business card, 2023. Designed by Irina Cocimarov.
–Pentti Monkkonen, Hair Nails (pink), 2016, wood, sand, acrylic, aluminum, and plexiglass on canvas, 49 × 85”. From “Pentti Monkkonen: Mur Murs,” 2016, Jenny’s, Los Angeles. Photo: Jeff McLane.
–View of “Sex is [Censored] Part 3 Le Pissoir du La Perle,” 2022, Jenny’s, New York. Photo: Joerg Lohse.
–View of “Miriam Laura Leonardi: Exhibition with View,” 2022, Jenny’s, New York. Photo: Carter Seddon.
@gracies__office
@jennykaraoke
@penttigram
@mll97_maladie
#JennyBorland
#MathewSova
Jenny Borland, the “hustler-dealer” behind the New York gallery Jenny’s, has no gallery Instagram—just her personal account, @jennykaraoke, with “NYC BABY” in the bio. In Artforum's May issue, Gracie Hadland grabs martinis with Borland to ask how a gallery founded (with Mathew Sova) on a whim—“if this fails we can turn it into a bar or a flower shop”—became a vital part of the downtown scene. The answer has to do with closing the distance between dealer and artist, and refusing every instinct toward professionalization, while staying glued to the social fabric: "If you don't participate in it, you're nobody. But it's fucking exhausting."
Link in bio.
Images:
––Jenny Borland’s business card, 2023. Designed by Irina Cocimarov.
–Pentti Monkkonen, Hair Nails (pink), 2016, wood, sand, acrylic, aluminum, and plexiglass on canvas, 49 × 85”. From “Pentti Monkkonen: Mur Murs,” 2016, Jenny’s, Los Angeles. Photo: Jeff McLane.
–View of “Sex is [Censored] Part 3 Le Pissoir du La Perle,” 2022, Jenny’s, New York. Photo: Joerg Lohse.
–View of “Miriam Laura Leonardi: Exhibition with View,” 2022, Jenny’s, New York. Photo: Carter Seddon.
@gracies__office
@jennykaraoke
@penttigram
@mll97_maladie
#JennyBorland
#MathewSova
The Parrish Art Museum is proud to present Parrish USA250, celebrating America’s semiquincentennial. In the exhibition series, artist Sanford Biggers explores the concept of the “pursuit of happiness” through new textile works, prints, sculptures, and site-responsive installations. “Sanford Biggers: Drift” opens on May 17 @parrishartmuseum, through September 13.
#ParrishArtMuseum
#PARRISHUSA250
Image:
Sanford Biggers, Dagu (2016). Museum of Arts and Design, NY; purchased with funds from the Collections Committee, 2018; 2018.5. Photo: Jenna Bascom, 2021.
Bradley Biancardi, Doomed Ships on Great Lakes, 2026, oil on canvas, 45 x 37" @newartdealers, Booth C16 @galleriurbane, through May 17.
@bradley_biancardi
#GalleriUrbane
#NADA
Marcus Manganni, End to End Burners, 2022, hand carved acrylic, razorblades, & steel support @newartdealers, Booth D8 @trotterandsholer, through May 17.
@marcus_manganni
#Trotter&Sholer
#NADA
Molly Greene, Tactic, 2026, acrylic on canvas, 20 × 20 inches @newartdealers, Booth B14 @huxleyparlour, through May 17.
@mollyagreene
#HuxleyParlour
#NADA
Dylan Vandenhoeck, Pressure Phosphene, Trail Marker, Plein Air, 2026, oil on linen on panel, 25 x 21" @newartdealers, Booth C3 @jackbarrettgallery, through May 17.
@dylanvandenhoeck
#JackBarrett
#NADA
In this video from 2018, John Edmonds talks about his art and his first monograph, Higher, published through Capricious Publishing, which covers the first decade of his photographic work and includes a conversation with Mickalene Thomas as well as texts from Dr. Aaron Rosen and Durga Chew-Bose.
Follow the link in bio for the full video.
@johncedmonds
@capriciouspublishing
#JohnEdmonds
#JamesBaldwin
#ArtforumVideo
#Photography
#Artist
Douglas Rieger, Male Fantasies, 2026, aluminum, wood, paint, rubber, bead chain, 102 x 60 x 48" @newartdealers, Booth D13 @capsuleshanghai, through May 17.
@riegerdouglas
#CapsuleShanghai
#NADA
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