Lucio Fontana’s slash became one of post-war art’s most recognisable gestures. A major Hong Kong exhibition restores the holes, shaped canvases, bronzes and spatial thinking that make one cut very different from another.

Following Clive Davis’s death in June 2026, Christie’s dispersal of his collection offers more than a celebrity-provenance story. It reveals how one of music’s great talent-spotters lived with post-war and contemporary art — and how friendship, intuition and domestic space shaped what he bought.

Teresa Margolles’s first large-scale US museum exhibition turns rubble, residue and forensic thinking into a radical form of memorial. For collectors, it is also a masterclass in why context and conservation can be part of the medium.

Wangari Mathenge’s first solo exhibition with Lévy Gorvy Dayan expands her Re-membering series into sculpture, turning books, objects and domestic space into a layered inquiry into Kenyan cultural memory.

Dimitris Daskalopoulos has added 51 works to one of the most consequential museum-gifting programmes of the contemporary era. The real story is not generosity alone, but a collector’s unusually coherent answer to the problem of legacy.

Peter Simon’s collection is large enough to read as a survey of modern and contemporary art, but its more useful story for collectors is personal: how a commercial eye trained on textiles, colour and pattern became an art-collecting instinct — and why conviction still matters when markets move against you.