Scansite 3D is proud to have been selected by the San Francisco Museum of Modern Art to create tactile models for its newly reimagined Fisher Collection galleries. As part of the museum’s effort to make art more accessible and engaging, these touchable exhibits allow visitors to experience iconic works in a whole new way. Using high-precision 3D scanning and advanced fabrication techniques, Scansite 3D translated complex artworks into carefully crafted physical models that preserve the integrity, scale, and intent of the originals. Each piece was developed with a focus on clarity, durability, and meaningful tactile interaction. This collaboration reflects a shared commitment to innovation, accessibility, and expanding how audiences connect with art—ensuring that the museum experience can be explored not just visually, but through touch. Read more about the museum and the new exhibit below: #SFMOMA #Accessibility #3DScanning #ArtInnovation #InclusiveDesign #FisherCollection https://lnkd.in/ggXSz67x

𝐂𝐨𝐧𝐭𝐞𝐦𝐩𝐨𝐫𝐚𝐫𝐲 𝐀𝐫𝐭 𝐌𝐚𝐫𝐤𝐞𝐭 𝐂𝐨𝐧𝐟𝐢𝐝𝐞𝐧𝐜𝐞 𝐑𝐞𝐩𝐨𝐫𝐭 𝐀𝐩𝐫𝐢𝐥 The Contemporary art market has entered 2026 on a firmer footing than many had expected in our last survey in July 2025. Confidence has rebounded across both the primary and secondary markets, supported by stronger auction results, encouraging signals from major art fairs, and renewed momentum at the top end of the market. Read the report now: https://lnkd.in/eUvP5bv9

A new exhibition opening this week explores how to make visual art accessible to blind and partially sighted visitors. ‘Making Sense: a multi-sensory approach to art’ opens in the Tower Foyer Gallery on Friday 10 April. It showcases the research of Jinyu ‘Eevee’ Han, a PhD student at Duncan of Jordanstone College of Art & Design. She has been collaborating with Dundee Sight Support & Social Hub and North East Sensory Services to develop alternative methods of interpretation. These include artworks that have been designed to be touched, others that are accompanied by tactile 3D models of the original piece, and audio descriptions that can be accessed by scanning a QR code. Braille features throughout the exhibition. https://buff.ly/M2q0rAt

Medium-specific art fairs have gained increased momentum and attention over the past several years, attracting discerning collectors who seek to explore a medium more comprehensively. https://lnkd.in/dN7uDKSD

🎨 The art world has its own language. But do we truly speak it? "#Whitecube," "#curator," "#YBA," "street art" — these words circulate in galleries, at exhibitions, at openings, and across social media every day. Yet their meaning is often richer, and more surprising, than we think. 🖼️ In our latest article, we explore 9 #art #terms that are worth a second look ➡️ https://lnkd.in/ezWWRKNk

In the context of 20th-century kinetic art, Jesús Rafael Soto stands as a central figure in redefining perception as an active experience. “Homenaje a lo humano” (1976) embodies this exploration: a rigorously structured composition where repetition, rhythm, and optical vibration dissolve the notion of static form. The work is not merely observed — it is activated by the viewer. This piece, part of a numbered edition, is supported by solid provenance: acquired from gallerist Alex Rosenberg circa 1980, linked to its original 1976 exhibition, and validated by Galerie Denise René, Paris, a key institution in the development of kinetic art. In today’s market, where traceability and coherence within an artist’s oeuvre are essential, this work represents a strong acquisition for both private and institutional collections. Latin American kinetic art continues to consolidate its position within European and Swiss markets, driven by sustained demand for documented, museum-quality works. Private inquiries are welcome. #KineticArt #JesusRafaelSoto #LatinAmericanArt #ArtCollectors #ContemporaryArt

In this episode of the Art Business Podcast we visit the Wolf Collective, a curatorial platform run from the co-founders’ modernist home in Primrose Hill. Guests Lupe Sanchez, a curator and advisor with experience in blue-chip galleries and deep ties to Japanese craft traditions, and architect/developer Iain Pattie discuss how their domestic space has evolved into an intimate exhibition platform. The current solo presentation by Chicago-based artist Jaclyn Mednicov , whose ceramics, prints and installations reflect long periods of research in Japan, anchors the conversation. Topics covered include: the practical and emotional value of showing art in a lived-in home rather than a white-cube gallery; how architecture and natural light shape viewer experience; programming that blends music and performance with exhibitions; curatorial relationships rooted in long-term support; and the social dynamics of invitation-based shows.

Japanese Neo Pop is not a trend. It is a structural evolution of contemporary Japanese art. Hiro Ando’s disciplined sculptural ecosystem, developed through Studio CrazyNoodles, represents one of its most coherent long-term frameworks. https://lnkd.in/eJ679FmU

A Smaller Art Brussels Represents a Shift in the Fair Ecosystem Toward a ‘Quality-First’ Approach. At the press conference for the 42nd edition Art Brussels fair (April 23–26), director Nele Verhaeren was refreshingly straightforward. “We’re not going to hide it,” she said, referring to the event’s smaller numbers: 138 participating galleries, or 26 fewer than last year. The downsizing has meant a shift toward a “quality-first” approach, per organizers, who framed the current edition as an opportunity to create a different kind of art-fair experience that allows for both seeing a lot of art, but also taking it slower. link/source: ARTnews https://lnkd.in/eGkvT5d7