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
The scholarly battle over Beuys
Let’s admit it: without the artist to explain and animate his work, much of it is incomprehensible
Artist’s copyright versus curator’s freedom of expression: The wider legal significance of the Beuys case
The estate of Joseph Beuys has brought the Museum Schloss Moyland to court over photographs of Beuys' performance art
Adrian Ellis on Tate's expansion: the definition of success
After a decade of acclaim, will its triumph be topped by Tate Modern 2?
Saving the ephemeral art gallery: The director of Tate Liverpool on preserving institutional history
'History is unpredictable, and we cannot know which obscure artist or minor exhibition may once be regarded as a groundbreaking historical event'
The time has come for a statute of limitations on restitution: stemming the flow of works from museums
Since the late 1990s there has been a strong push towards provenance research of collections and museums, and restitution of items that were looted or taken by the Nazis during their period of power
Comment: Tough times in the art market will create new opportunities
The current drop in activity may be healthy for the sustainability of the future art market
First Ullens show is not representative of its subject matter
A letter to the editor
Comment: if the hedge funders ditch art, new buyers will emerge
In 2007 the economist James Sproule examined the risks facing the market—and the good news was it was not all doom and gloom
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
Museum inaction on restitution is undermining public trust
Adrian Ellis, director of AEA Consulting, talks on the threat this poses to the perceived legitimacy of cultural institutions
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
Why did the United Nations cover up Picasso’s “Guernica”?
How a historical work of art loses its past
Tate (the magazine) as transitory as fashion
How the Condé Nast-published art magazine expresses the current merging of consumption values and art
All’s well in the world of museums
A look at the global climate of public institutions
Cultural diversity policy: A formula for indifference?
Why “cultural diversity” arts policies are condescending and do not enlarge the understanding of other cultures
Letters: What are the decorative arts?
A criticism of the phrase
Letter: Nero is the subject of the Warren Cup
One of the British Museum's finest treasures may depict a notoriously licentious Roman emperor
James Hall argues in defence of iconoclastic art
A response to critic Andrew Graham-Dixon’s opinions on the power of images as expounded in his current BBC tv series
Don’t just berate the thieves: look at the museums and excavators too
In the last of our series which publishes talks given in London this summer, Professor Sir John Boardman, Lincoln Professor Emeritus of classical archaeology and art at Oxford, singles out three areas for concern.
Archaeological reforms needed in source countries: Reward the finder, excavate faster, keep what is important but allow a licit market
Laws now are obsessed with the objects rather than the sites
Tate's new retrospective: Why did we get de Kooning?
Are we right to be so admiring of the work currently exhibited at the Tate