Steve Tobin’s The Trinity Root was made to commemorate a sycamore tree in the churchyard of Trinity’s St. Paul’s Chapel that took the brunt of debris from the Twin Towers (which were across the street) and saved the historic chapel from serious damage. He gave it to Trinity for free in exchange for the promise that the church would keep it in its courtyard permanently. Then, two years ago, a new rector packed the sculpture off to Connecticut.

Hilma af Klint (1862-1944) painted geometric compositions even before Kandinsky and Malevich did. She was also a mystic, and her planned museum south of Stockholm is being planned by a group of “anthroposophists.” But Klint’s family claims that the group is exaggerating her connection to the movement and is refusing to lend any of her art to the project.

“Germany has dealt with the long shadow of Nazi-era looting for many years. Now the government is setting aside funding to investigate another dark chapter of the past: the expropriation of works of art by the Stasi, the East German secret police, during the Cold War. The research could open the door to new restitution claims from the families of victims.”

Before Fearless Girl came on the scene, the bull was an encouraging representation of a booming economy. Now, charging toward a tiny human, it’s a stand-in for the gendered forces that work against women’s success in the workplace. This isn’t the same kind of contextual shift that might result from a curator’s juxtaposition of two works; the girl is derivative. Arturo Di Modica meant his bull to stand alone—now, it’s as if Visbal and New York City have made a solo piece a diptych without his consent.”

“Stasi agents swept up jewels, gold, silver, clocks, porcelain, stamp collections, manuscripts, sculptures and paintings—including works by Lucas Cranach, Canaletto, Albrecht Dürer and Rembrandt—and piled them into trucks. They also found hidden Nazi party membership books and medals potentially useful for blackmail, as well as savings books and life-insurance policies. The Stasi valued its findings at DM4.1m—around $10m at the time.”

A diary from art critic Adrian Dannatt’s trip to the art fair at the bottom of the world, featuring close encounters with whales, seals, and Alexander Ponomarev’s Alchemy of Antarctic Albedo (or Washing Pale Moons).