Comment
What is art for? Jane Kallir tells us
Following the terrorist attacks in Paris, Beirut and Bamako, and as The Art Newspaper continues its debates in Moscow, the New York gallerist shares her thoughts on art's purpose, originally published after 11 September 2001
In Europe’s troubled times, museums can offer hope
With the European Union in crisis, museums have an obligation to demonstrate what cultural exchange can achieve
Public museums need a new way of working with collectors
State institutions shouldn’t collaborate with those who don’t understand their wider aims
Why is Saudi Arabia destroying the cultural heritage of Mecca and Medina?
Even sites associated with the Prophet's family make way for skyscrapers and mega-hotels
Comment: The Tate should take BP’s money—and ask for more
Protests about the gallery’s lack of transparency concerning the energy company's sponsorship miss the point of how big business and the arts interact
Comment: it’s the economy, stupid—and the art market is no longer immune to its vicissitudes
While the 2008 global financial meltdown largely failed to dent sales, in 2015 our editor-at-large warned that the falling oil price experienced at the time could prove much more serious
Development, tourism and neglect endanger sites as much as conflict and natural disasters
Does Unesco have the power to stop the decline of crucial heritage sites?
Comment: The immorality of using Detroit’s art to bail out bankrupt city
Even if it proves legal to sell paintings in the Detroit Institute of Arts, there is a moral case to consider
The big hole in Britain’s National Gallery: Bring back the Victorians
The omission of paintings by the Pre-Raphaelite Brotherhood could be rectified by judicious loans
Why American art museums are reluctant to mark the 150th anniversary of the Civil War
It was a different story for the 200th anniversary of Abraham Lincoln’s birth in 2009
Serota on a sustainable future for museums: why Tate needs to change in a changing world
Moving on from traditional didacticism and adapting to a new level of modern communication
Why the US military's proposal to dispose of Saddam Hussein’s Victory Monument is misguided
They represent good and bad aspects of Iraq’s modern history and cannot simply be obliterated
Comment: the problem with a collector-driven market
There is a danger that money will trump knowledge, observed the New York dealer in 2007
Comment: why an art market clean-up would be a clear-out
In 2007 the creative industries consultant noted that the “insider” aspect of the contemporary art market and hierarchy of knowledge and status that it creates was a significant part of its attraction
A response to Peter Watson's The Medici Conspiracy: Collectors should be defended
"The picture he paints is one where the only people to have any legitimate interest in ancient art objects are closeted archaeologists"
Drue Heinz on her love of Tibetan Mastiffs: “It has been a long time since Raphael kept anyone warm on a cold winter night”
The legendary collector speaks on her two beloved dogs, Moose and Minnie
Comment: droit de suite in the EU is bad for all art markets—and the artists it is meant to help
The British Art Market Federation chairman on Artists' Resale Right representing a serious challenge to market competitiveness in 2005
New York’s famous Museum of Modern Art turns the story of art upside down with its expanded $858 million new building complex
At the hands of Japanese architect Yoshio Taniguchi, the MoMA has become twice its former size
A blow to Britart as Saatchi's collection is caught in Momart warehouse blaze
Shame on the Schadenfreudians
Letter: Modigliani needs art historical approach
Dr Kenneth Wayne says scholarship is the way forward
Danto explains why there are no constraints on what a work of art looks like today but why the critic has also become essential to its making
A commentary on the end of art
Should the new Holocaust gallery be a permanent feature of this museum?
The Imperial War Museum's exhibition is intended as a reminder of past evil
Opinion: Martin Borg should stop wasting time and money on his plan for a £70 million Libeskind extension
No go for the V&A Libeskind
Six years ago, Elizabeth Esteve-Coll sacked four keepers of curatorial departments and other staff. One of those keepers assesses her achievements
Has the V&A lost its head?
Let them take their art with them into the afterlife: Achille Bonito Oliva proposes a dignified exit for contemporary works of art
What is the point of restoring modern art? Is it reasonable to treat a Rauschenberg as if it were a Leonardo?
Sunday Times art critic on Rauschenberg and Jasper Johns: making religious images for a secular age
'Rauschenberg and Jasper Johns / Bless the bed we lie on'