With a work by Lido Iacopetti presented by Aldo de Sousa at the beginning of the fair, as a La Plata's city grail, as Facundo Belén—artistic director of Plateada alongside Virginia Martin—described it, the fair presents its 2026 edition in the main hall of the Teatro Argentino, in La Plata, Argentina.

The Museo de Arte Contemporáneo de Buenos Aires (MACBA) presented the work of two women artists. In ¿Cómo suenan las lágrimas antes de secarse? (What Do Tears Sound Like Before They Dry?), Ivana de Vivanco builds a warning. Snakes, with their capacity to sense catastrophe. In Curada de espanto (Cured of Fright), Ornella Pocetti brings together scenes that hold a story that never fully reveals itself. Both artists hold the abyss steady through anticipation and the suspicion of an estrangement. All you have to do is pay attention.

An overhead summer sun, harsh and multiplied by the closeness of the water, beat down on us in the streets, bridges and canals of Venice caught in a heat wave. We were looking for shelter, and then darkness. And then, a panel, an immersive installation by Khaled Sabsabi that glowed in the middle of the entrance to the exhibition. Colors, slow movements, spectral sounds. Can we also imagine, perhaps, certain scents? This is the solemn entrance to the Arsenale in the 2026 edition of the Venice Biennale exhibition.

The Venice Art Biennale is approaching the inauguration of its 61st edition amid resignations, protests, and controversies. Never indifferent to its time, its launch also converges within an intense context of wars, genocides, and geopolitical crises. From Arte al Día, we ask ourselves: how can we trace the relationships between politics and art?

Director of the Museo Universitario del Chopo, Sol Henaro reflects on her role, the tensions within the institution, and the construction of communities from a curatorial perspective.

What is a Culturally Specific Institution? Director of El Museo del Barrio for over eight years, Patrick Charpenel reflects on the role of museums in the United States, the visibility of Latinx communities, and the challenges of thinking about art beyond fixed categories and market logics.

The Ecuador-based design studio DON NADIE presents the project 1 m² / 1 second at the Fuorisalone of Milano Design Week 2026. The paper-sculptured native plants seek to translate deforestation into a tangible experience.

With a background shaped by humanities and a trajectory in cultural practice, Rafael Tamayo promotes a model of the museum that is conceived in relation to its social context. Director of the Museum of Modern Art of Medellín, he will take part in the FORO of Pinta Panamá, where he will engage in discussions on how institutions construct narratives, community, and debate in the region.

The Salvadoran curator reflects on the relationship between art, memory, and politics, and on how his work at Y.ES Contemporary seeks to generate opportunities for local artists while building networks with the international scene. He will be participating in the 2026 edition of Pinta Panamá in the FORO talk.

Antena by Silvia Gurfein, Huir del mundo by Rosa Chancho, and Important Artifacts by Leanne Shapton are three art books published in Spanish during 2025. All three have pink covers. But contrary to the saying, it’s not all roses in these books. Or perhaps it is, but not in an obvious way: they narrate and engage with art through themes of isolation, fragmentation, rupture, and imagination.

It is not easy to compose a path through monumental works inside a monumental space. At the 36th São Paulo Biennial, the artists invited by Bonaventure de Soh Bejen Ndikung and his team, present large-scale works whose textures and forms sometimes speak to each other linearly, and other times through oblique movements.

Isabella Lenzi (São Paulo, 1986) is a curator trained in architecture, museology, and art history. She lives in Madrid, where she works as Visual Arts Curator at the Círculo de Bellas Artes and as Artistic Director and Chief Curator of the Fundación Alberto Cruz, following a trajectory that includes institutions such as the Museo Reina Sofía, Fundación Mapfre, Videobrasil, the Cuenca Biennial, and the Whitechapel Gallery.

To tell, narrate, or curate always implies a perspective. From where one speaks, to whom one speaks, and which points of support are chosen when conceiving an exhibition—when designing a story. Irene Gelfman is an Argentine curator, art critic, and cultural manager. She trained as an art historian and curator. Today, she is the global curator of Pinta.

Through the exploration of the intersections between image, body, and discourse, Guad Creche (Salta, Argentina, 1985) positions their curatorial gaze on the performative potential of photography.

Editor and curator, Sol Echevarría created Espacio FAN as a meeting ground between the editorial and the visual. There, books become a territory for experimentation, and artworks become ways of reading. A project that champions collaboration, critical thinking, and cultural resistance in times of retreat.

In Casa do Povo's basement, Marcelo Evelin’s performance unleashes a ritual of bodies, rhythms, and nudity that allows no anticipation. An experience that demands looking, breathing, and moving through the present without guide or return.

Like any big city, in São Paulo everything happens at once: galleries, residencies, studios, and exhibitions weave together in an electric network that nurtures local artists and connects them with global circuits. The city works like a node: intense, vibrant, inexhaustible.

The São Paulo Biennial opened its 36th edition with a mix of proposals that invite a return to the senses: textures are highlighted, sounds resonate, and at times even scents appear. With a large number of commissioned works, the curatorial approach—led by Bonaventure Soh Bejeng Ndikung—was guided by several threads, all centered on the idea of “humanity as practice”.

The Brazilian city of Belém has the particularity of being located in an estuary: the point where the Amazonian rivers open into the Atlantic. It is there, in a setting traversed by currents of water and of history, that the Bienal das Amazônias takes place, an event that explores the connections between territory, history, and climate, and the ways in which art can become a space to think through those tensions.

Galleries, installations, talks, collections, exhibitions, institutions, celebrations, and visits to artists’ studios. All this, and more, is brought together in the three editions—and an upcoming fourth—of Pinta Asunción, where every initiative aims to expand and connect a country’s artistic ecosystem. Under the curatorship of Irene Gelfman and Adriana Almada, the goal over the years has been to enhance the cultural industry and exercise the muscle of openness to the world.

For over four decades, Mónica Kupfer has been researching, writing, and curating exhibitions that seek to tell a story of Panamanian and Central American Art that is still under construction. She played a key role in the first edition of Pinta Panamá Art Week, where she coordinated FORO—a regional discussion platform that brought together artists, curators, collectors, and institutions.

After its acclaimed presentation at the 60th Venice Biennale, the Disobedience Archive lands at PROA21 with a new configuration. What in Italy took the form of an animated pre-cinematic machine —The Zoetrope— that drew the viewer into a visual experience, now adopts in Buenos Aires a more intimate and austere format.

A selection of events, activities and cultural proposals bring together artists, curators, collectors and specialists in different parts of Panama City. Pinta Panama Art Week proposes an ambitious agenda from May 21 to 25 with the best of contemporary art in the region.

MAC Panamá's Chief Curator Juan Canela, reflects on the challenges of curating in Central America, the value of collaborative practices, and the context of Panamanian art. He is participating in the inaugural Pinta Panamá Art Week, running May 21–25 with activities centered on the local art scene.