A conversation with Palestinian artist Samira Badran and independent curator Àngels Miralda on art, guardianship, and the responsibility to keep looking. Škuc Gallery, Ljubljana 2026.

Charlotte Cotton has sat at a dinner table with Henri Cartier-Bresson and William Eggleston. She has curated at the V&A, the Photographers' Gallery, and LACMA. She wrote the book — literally, in ten languages — that charted the rise of photography as an undisputed art form in the 21st century. Close Enough, her exhibition at ICP, is about something harder than any of that: the questions twelve women photographers ask themselves before they press the shutter, and after.

He is only ever and truly a writer. Other things slip in — curator, editor, teacher — but they all filter through the magic of words. Andrew Berardini has penned essays for sci-fi pagan witches and queer geniuses, co-curated Estonia's Venice Pavilion, and tracked 110 shades of colour through memory and art history. We asked him about icons. He said we should smash them all. We asked about wellbeing. He said: more love, less fear. Joy.

In the early 2000s, Dubai's contemporary art scene was not a given. It was a possibility waiting for a catalyst. Sunny Rahbar became that catalyst. She built audience before she built sales. She hosted film screenings and talks and club nights before she went to Frieze. She defended artists who had no gallery representation and watched them grow into artists shown in every significant Western institution. An Arabic name on a Western gallery's roster is no longer unusual. She is one of the reasons why.