“Experts said the restoration uncovered newfound lucidity and profundity in the work, with figures that had previously been hidden now apparent and a ‘liveliness’ of action uncovered.” Says the director of the Uffizi Gallery in Florence, where the painting is back on display, “This is an extremely cinematographic painting, in fact, and has become such thanks to the cleaning,”

“In her short time here, the Fearless Girl has fueled powerful conversations about women in leadership and inspired so many. Now, she’ll be asserting herself and affirming her strength even after her temporary permit expires—a fitting path for a girl who refuses to quit.”

Thomas Krens, the longtime director of the Guggenheim Foundation and the driving force behind the global expansion of the Guggenheim brand, now says “The world financial crisis and the Arab Spring has [sic]changed the equation radically … It may not be such a good idea these days to have an American museum … with a Jewish name in a country [that doesn’t recognise Israel] in such a prominent location, at such a big scale.”

The New York Times‘s co-chief art critic looks at how the debate over Schutz’s Open Casket at the Whitney Biennial has developed, reminds us that African-American opinion on the issue is not monolithic, and suggests that those calling for the painting to be suppressed or destroyed have more in common with, for instance, Rudy Giuliani’s crusade against Chris Ofili’s The Holy Virgin Mary than they might like to admit.

“Better known for her passionate, tragic relationship with Rodin and her 30-year confinement in a psychiatric hospital near Avignon, [Camille] Claudel was largely forgotten as an artist until the late 1970s. The new museum holds most of the sculptures that she did not destroy when her affair with Rodin ended.”