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An outside investigation of a whistle-blower complaint at the Detroit Institute of Arts found no misconduct regarding a recent loan of an El Greco painting from the father-in-law of the institution’s director. [The New York Times]
A judge has ruled that the embattled founder of Brazil’s Inhotim Institute, Bernardo Paz, cannot donate works from the outdoor art space’s collection to settle Paz’s $110 million tax debt. [The Art Newspaper]
The Art Institute of Chicago has acquired two works from the 1940s by the French-Mexican Surrealist Alice Rahon. [Artsy]
Led by a deaccessioned Matisse painting, Christie’s $9.7 million Impressionist sale shows a narrowing market for modern art as buyer interest in trophy works increases. [Art Market Monitor]
As part of a settlement, the proceeds of a Dutch Golden Age painting that will be auctioned will be split between its current owner and the heirs to the Jewish art dealer from whom the Nazis looted the work. [The Art Newspaper]
Earlier this month, Lévy Gorvy opened a street-level gallery in a former Pret a Manger, its second space in London. Now, the gallery will extend its lease after a 30-foot-painting by Tu Hongtao sold to Wang Wei and Liu Yiqian, founders of Shanghai’s Long Museum. [The Art Newspaper]
Read more about Wang Wei and Liu Yiqian, who have ranked on ARTnews’s Top 200 Collectors list each year since 2012. [ARTnews]
Art & Artists
Artists Dread Scott, Catherine Opie, Shirin Neshat, and Whitney Museum curator Rujeko Hockley weigh in on the “25 Most Influential Works of American Protest Art Since World War II.” [T: The New York Times Style Magazine]
“Womxn in Windows,” a new exhibition in storefronts along L.A.’s Chung King Road, “feels made for our socially distant moment,” writes Sharon Mizota. The exhibition includes work by Ja’tovia Gary, Everlane Moraes, and more. [Los Angeles Times]
In an exhibition at Fotografiska in New York, artist Martin Schoeller “captures the faces and stories of Americans accused of crimes they didn’t commit.” [The Guardian]
For his latest column, Sebastian Smee focuses on Jan van Eyck’s Crucifixion and Last Judgment panels, on view in New York, writing that they are like “like black metal music emanating from a bouquet of flowers.” [The Washington Post]
A suite of new work by David Hockney, based on time spent in Normandy, France, will go on view this week at Galerie Lelong in Paris. [Financial Times]