
Now available
Gagosian Quarterly Summer 2025
The Summer 2025 issue of Gagosian Quarterly is now available, featuring Pablo Picasso’s Nu accoudé (1961) on the cover.
February 3, 2020
Diana Widmaier-Ruiz-Picasso curated an exhibition at Gagosian, Paris, in 2017–18 titled Picasso and Maya: Father and Daughter. To celebrate the exhibition, a publication was published in 2019; the comprehensive reference publication explores the figure of Maya Ruiz-Picasso, Pablo Picasso’s beloved eldest daughter, throughout Picasso’s work and chronicles the loving relationship between the artist and his daughter. In this video, Widmaier-Ruiz-Picasso details her ongoing interest in the subject and reflects on the process of making the book.
Artwork © Succession Picasso 2020; Picasso and Maya: Father and Daughter, Gagosian, Paris, November 29–December 19, 2019; publication: Picasso and Maya: Father and Daughter; video: Pushpin Films; footage: Lumento, Paris

The Summer 2025 issue of Gagosian Quarterly is now available, featuring Pablo Picasso’s Nu accoudé (1961) on the cover.

On April 18, the exhibition Picasso: Tête-à-tête opened at Gagosian, New York. Including works from 1896 to 1972, the full span of the artist’s career, the show is presented in partnership with Paloma Picasso, the artist’s daughter. Here, Michael Cary, one of the organizers of the exhibition, traces the historical precedents that informed the conversational nature of the curation. He also introduces a translation of a 1932 interview with Picasso by the publisher and critic E. Tériade, often quoted in English in part but not in full.
Join president of the Picasso Museum, Paris, Cécile Debray; curator, writer, biographer, and historian Annie Cohen-Solal; art historian Vérane Tasseau; and Gagosian director Serena Cattaneo Adorno as they discuss A Foreigner Called Picasso. Organized in association with the Musée national Picasso–Paris and the Palais de la Porte Dorée–Musée national de l’histoire de l’immigration, Paris, the exhibition reframes our perception of Picasso and focuses on his status as a permanent foreigner in France.

Cocurator of the exhibition A Foreigner Called Picasso, at Gagosian, New York, Annie Cohen-Solal writes about the genesis of the project, her commitment to the figure of the outsider, and Picasso’s enduring relevance to matters geopolitical and sociological.

The Spring 2023 issue of Gagosian Quarterly is now available, featuring Roe Ethridge’s Two Kittens with Yarn Ball (2017–22) on its cover.

Pieter Mulier, creative director of Alaïa, presented his second collection for the legendary house in Paris in January 2022. After the presentation, Mulier spoke with Derek Blasberg about the show’s inspirations, including a series of ceramics by Pablo Picasso, and about his profound reverence for the intimacy and artistry of the atelier.

Pepe Karmel celebrates the release of A Life of Picasso IV: The Minotaur Years, 1933–1943, the final installment of Sir John Richardson’s magisterial biography.

From his early work for magazines in the 1990s to recent projects with the designer Telfar Clemens, Roe Ethridge has consistently challenged the distinctions between commercial and conceptual photography that long defined the medium. Antwaun Sargent recently caught up with him to discuss the moment that confirmed the artist’s understanding of the photographic image’s potential for boundary-hopping ubiquity in the contemporary era.

Roe Ethridge shares the transportive powers of his playlist “Teenage Chemicals in 1985,” a soundtrack that began playing in those formative years and hasn’t stopped since.

During a conversation with David Rimanelli, Roe Ethridge reflected on photographs that he made during the late 1990s and early 2000s after moving to New York. They spoke as Ethridge was preparing for his exhibition Old Fruit.

Michael Cary pays homage to the visionary dealer Daniel-Henry Kahnweiler (1884–1979).

Berit Potter pays homage to the ardent museum leader who transformed San Francisco’s relationship to modern art.