"The AAM guide to provenance research" by Nancy Yeide, Konstantin Akinsha and Amy Walsh

A guide on how to best investigate provenance with specific emphasis on the specialist problems of the Holocaust-era, solvable using provenance research

Okwui Enwezor's curation examines the effects of post-colonialism on Africa’s artistic output

“The short century: liberation and independence in Africa 1945-94”, creates a “critical biography of Africa”

What are museums doing to collect, store and show internet art?

Ossian Ward investigates European and US perspectives and the issues of conservation and ownership

Letters: V&A was not intended to be purely decorative

If there is a museum anywhere in the world which can claim to be the first embodiment of this inclusive, antisegregationist approach, it is the V&A.

Giles Waterfield finds the new mixed hang at Tate Britain unhelpful and bullying

This new curatorial direction suggests museum just a plaything for the staff

May 2000archive

Curator interview: Tate Modern's thematic hang

An exclusive interview with The Art Newspaper about the closely guarded secret: the thinking behind how the Tate Modern has arranged its art


Adam Throup on the branding of the Tate

Part of the design team at Wolff Olins, he sums up the Tate's branding redesign

Interview with Jeff Rosenheim and Maria Morris Hambourg on Walker Evans: At the roots of Warhol

The upcoming Met exhibition presents the whole career of the photographer famous for his images of the Depression


MoMA exhibits millennial project as part of change in curatorial direction

In a heterodox view, the museum leaves behind its linear stylistic categorisations in favour of untidier, more subtle regroupings

Europe’s top photography collection now has a permanent gallery. From the dawn of photography to now

At the Victoria and Albert Museum, a single curator, Mark Haworth-Booth, has developed one the four greatest collections in the world


A Tate for the 21st century: decisions to be made about the collection remaining at Millbank Tate

With modern foreign art to be displayed at Bankside, opinion within the Tate differs as to how the story of British art should be told


An interview with Peter Galassi, Chief Curator of Photography at the Museum of Modern Art, New York

“It is impossible to say in advance when photography is an art and when it is not”


This year's 'New Displays' reveals fresh themes at Tate

A broadly chronological approach with thematic rooms addresses Surrealism, emotion, and history painting

Byzantine exhibition at the British Museum provides new insights but falls flat due to missed opportunities

Have scruples over not asking collector/dealers for loans, particularly for underrepresented painted icons, affected the quality of the current exhibition?

New gallery showcasing 20th-century design opens at the V&A

Spanning the history of consumer design from 1900 to 1992, it aims to explore design ideas, techniques and materials as well as individual pieces and mass-produced objects.


Should the Tate Gallery split?

We asked leading figures in the art world whether the Tate should divide into the British Collections and a museum of international modern art: all but one were in favour

A gallery with a new vision of Chinese art opens at the V&A this month

Daring to say “This is rare and beautiful” in new V&A Chinese gallery


Ro-Tate: Tate's rehang success with 1,500,000 visitors in attendance

It’s all change at the Tate Gallery, as part of Nick Serota’s policy of rotating the collections

In memoriam: the V&A’s role in the study of historic houses

Care of Ham House and Osterley Park to be taken over by the National Trust


Interview with Jacques Derrida: The Philosopher sees (or doesn’t see)

Discussing “Memories of a blind man – the self-portrait and other ruins” and his choice of drawings for the exhibition in the Hall Napoleon of the Louvre, from 26 October until 21 January 1991