\n\t\t<\/aside>\nAs committed chroniclers of the proverbial \u201cart world\u201d \u2014 an imperfect term denoting the ecosystem of artists, institutions, and other entities that make the visual art planet go \u2019round \u2014 we at Hyperallergic<\/em> have noticed a few patterns emerge over the years. For example, why are museums getting so expensive? How come exhibition lighting is so offputting? And for God\u2019s sake, what\u2019s with all the soil art?!<\/p>\nIn the spirit of ringing in the new year \u2014 and bidding adieu to 2024 \u2014 we\u2019ve compiled our Dos and Don\u2019ts for 2025, listing the trends and habits we\u2019d like to leave behind and those we\u2019d like to bring forward. Here\u2019s to another year navigating our strange, lovable, and deeply idiosyncratic art community (hopefully with fewer fair panels this time around \u2026 )<\/p>\n
\n\t\t<\/aside>\nIn 2025, Let\u2019s Leave Behind \u2026 <\/h2>\n 1. Soil Art<\/strong>\u00a0\u2014\u00a0Since Walter De Maria\u2019s classic \u201cEarth Room\u201d (1977), soil has held a certain fascination and allure for art audiences, but now we\u2019re drowning in artworks that love to dig things up and prove to us how environmental they\u2019re being. All this has soiled our spirits on earthy works and we\u2019d prefer something else to make us feel grounded.<\/p>\n2<\/strong>. Scrappy Ceramics by Artists Who Are Not Ceramicists<\/strong> \u2014 We\u2019ve all seen them, in hastily organized group shows and certain art fairs \u2014 shoddy ceramic \u201csculptures\u201d reminiscent of a last-minute middle school project you only remembered to tell your parents about the night before it was due. They\u2019re typically the work of artists with good intentions who want to experiment with the medium, but it\u2019s time to accept that this art form requires skill, and not everyone can (or should) take on the challenge.<\/p>\n3. Abstruse Art Terms<\/strong> \u2014 \u201cThe artist\u2019s oeuvre of speculative futurisms is a catalyst for a praxis of rupture\u201d \u2014 did you feel your entire body cringe at that sentence? Let\u2019s treat contrived, obscure art terms like any other vice this new year: Everything in moderation. Don\u2019t get us started on crafty little parentheses within words, usually in service of saying two things at once that both mean nothing \u2014 \u201c(mis)understand,\u201d \u201c(re)imagine.\u201d It\u2019s not clever, it\u2019s just annoying.<\/p>\n4. Little Gallery Books <\/strong>\u2014 Let us take a moment to consider the ecological disaster that is little gallery books. They\u2019re often small picture flipbooks with a short essay that someone hopefully got paid well to contribute to, but as anyone who has a bookshelf knows, those slim volumes are impossible to find. Not that anyone will ever read them.<\/p>\n5. Gold<\/strong> Flakes<\/strong> \u2014\u00a0They\u2019re not good on cakes, so why would they be good in art? Believe us: The shinier the gold flakes, the cheaper the artwork looks. Wealthy collectors with abhorrent taste in art might cheer this unnecessary addition, but we prefer art that is rich at heart.<\/p>\n6. Neon Text Art<\/strong> \u2014 It was cool back in the early aughts when everyone was into the academic critique of consumerism and mass advertising, but over the years we all caved in, gave up, and moved on. What good is your clever, post-modernish neon text if you\u2019re addicted to your phone, binge every piece of crap on Netflix, and ask ChatGPT to write your press releases? And does anyone even care?<\/p>\n7. The<\/strong> Vessel<\/strong> \u2014 We were hoping for a permanent closure of the Hudson Yards Vessel when it shuttered for three years after four people jumped to their deaths from the structure, but no such luck. In October, the Manhattan eyesore reopened with prevention nets, despite public outcry. As Charley Burlock wrote for Hyperallergic<\/em>, that doesn\u2019t change the fact that the site has become a memorial rather than a public artwork.<\/p>\n8. Unclear Opening Hours<\/strong> \u2014 Galleries and museums, for the love of all that is good: Clearly list your opening hours on your website and respect them. That seems obvious, yet art venues that boast values like access and inclusivity often ignore this most basic of principles. (On a related note: please make your websites user-friendly. If we have to click on an unlabeled floating object just to get to a list of current exhibitions, or your home page looks anything like Documenta 15\u2019s website, you\u2019re doing it wrong.)<\/p>\n9. Pseudo-Academic Art Fair Panels<\/strong> \u2014 Hosting \u201cpanel discussions\u201d and similarly meaningless programming during an art fair is like putting a dress on a pig. No one wants to hear a group of \u201cthought leaders\u201d debate the politics of public art in the age of AI, or the relevance of biennials, or whatever. These talks are typically attended only by the speakers and their three friends who agree with them, perpetuating the art-world echo chamber effect we know all too well.<\/p>\n10. Miserly Food Offerings at Openings<\/strong> \u2014 Nary a miniature croissant could be found at the press opening of the Whitney Biennial this year, to the chagrin of many of us who perused the bland artwork offerings on view with a grumbling stomach. No, we don\u2019t expect a three-course meal, but a small snack for a multiple-hour-long event is a nice gesture. And don\u2019t get us started on the increasingly microscopic wine pours at gallery openings. <\/p>\n11. \u201cGallery-Spreading\u201d <\/strong>\u2014 Ever silently wrestle with some guy on the subway over leg space before resigning yourself to bumping up against him the whole ride? \u201cGallery-spreading\u201d \u2014 opening up multiple spaces with essentially the same function within just a few miles of each other \u2014 is the art world equivalent. <\/p>\n\n
Notice any odd titles in Philip Johnson\u2019s bookcase? (photo Valentina Di Liscia\/Hyperallergic<\/em>)<\/figcaption><\/figure>\n<\/div>\n12. Philip Johnson <\/strong>\u2014 Four years ago, when a group of architects and scholars exposed the architect\u2019s creepy racist and white supremacist views \u2014 and Harvard University removed his name from a building, and even the Museum of Modern Art, where he was the first director of the Architecture Department, agreed to cover up his name in an exhibition \u2014 we really thought Philip Johnson was dunzo. This year, however, The Glass House in Connecticut announced the complete restoration of his little \u201cBrick House\u201d on the property, complete with a reconstruction of Johnson\u2019s private library exhibiting a book simply titled \u201cHitler.\u201d Jfc.<\/p>\n13. Expensive Museum Tickets<\/strong> \u2014 In the last two years, we\u2019ve seen ticket costs rise at several major museums across the United States, from MoMA to The Met to the Guggenheim to SFMOMA. Tempered by some positive initiatives like the Whitney\u2019s commitment to free admission for attendees 25 and under for the next three years, senior and student discounts, and other options, these price hikes are nevertheless an obstacle for low-income visitors.<\/p>\n14. Art World Social Media \u201cInfluencers\u201d<\/strong> \u2014 With all due respect to your \u201cpersonal brand,\u201d we don\u2019t need your vapid hot takes on art, and don\u2019t have any time or energy to waste on your narcissism.<\/p>\n15. Wishy-Washy Billboard Art<\/strong> \u2014 Let me guess: Your billboard project opens up a portal for discourse, community-building, and alternative futures. Does it really, though? Unless it offers a thoughtful message, isn\u2019t navel-gazing, and is situated in an area where people will actually see it and reflect on it, these billboards are less public art, more publicity.<\/p>\nIn 2025, Let\u2019s Bring Forward \u2026<\/strong><\/h3>\n1. Artists Putting Their Politics Into Action<\/strong> \u2014 This fall, author Jhumpa Lahiri turned down an award in protest of the Noguchi Museum\u2019s staff dress code banning the Arab and Palestinian headscarves known as keffiyehs<\/em>, and earlier in the year, a group of anti-Zionists artists withdrew from a show at the Contemporary Jewish Museum in San Francisco in a call for divestment from Israel. These were just a few of countless examples of cultural workers putting their money where their mouth is and holding institutions accountable. It takes integrity to pass up a career opportunity to stand up for what\u2019s right, and we commend those in our community who are speaking truth to power.<\/p>\n2. Accessibility in Art Institutions<\/strong>\u00a0\u2014 Canvases hung just a couple of inches lower to accommodate those in wheelchairs, better experiences for color-blind visitors, and fairs centered around artists with disabilities \u2014\u00a0we\u2019re starting to see some hints of the art world becoming more geared toward accessibility. Let it not be another fad, please.<\/p>\n3. Better Food at Museums<\/strong> \u2014 There was a time when all we would expect at a museum restaurant or cafeteria was a dry ham and cheese sandwich or bad coffee, but nowadays we\u2019re finding that the options are better than ever. Whether it\u2019s Untitled at the Whitney Museum of American Art or the new caf\u00e9 at the Brooklyn Museum, it is feeling like we don\u2019t have to leave our culinary tastes at the door anymore, as there\u2019s sure to be something to enjoy if we need to take a break with a drink and food.<\/p>\n4. Tribeca, a More Human-Scaled Art Neighborhood<\/strong> \u2014 We\u2019ve been dealing with the alienating galleries of Chelsea for too long, and now that Tribeca is slowly snatching the crown as the city\u2019s new gallery district, we\u2019re very relieved that there\u2019s a more human-scaled art neighborhood that allows you to wander dozens of art venues, while not feeling like you\u2019re trekking through an industrial wasteland. And if you thought the High Line park would help humanize Chelsea, I think you\u2019re wrong, as we have just added that one thing New Yorkers hate the most: feckless tourists who can\u2019t wait to tell you that their kid can paint that. Tribeca galleries give us hope that the art community is realizing that audiences want a different kind of art-viewing experience.<\/p>\n5. A More Ethical Arts Journalism Ecosystem<\/strong> \u2014 So your show got a great review in Hyperallergic<\/em> and you want to share it on social media \u2026 great! Just don\u2019t screenshot the whole article and upload it as an image on Instagram. Many people don\u2019t realize that online publications depend on readers and traffic, and posting our content in this way only benefits social media platforms. Instead, post a small snippet or image, if you\u2019d like, and direct your followers to a link they can click on to actually read the article on our site. Please share our stories as thoughtfully as we strive to write them.<\/p>\n6. Thoughtful Exhibition Lighting<\/strong> \u2014 For a field that prioritizes visual experience, we sure spend a lot of time dodging light reflecting off an artwork\u2019s protective glass in order to, you know, actually look at the work. We see you, museums with anti-glare glass, and we appreciate you.<\/p>\n7. Museums Unearthing Fascinating Collection Items<\/strong> \u2014 After languishing in storage for decades, if not longer, there\u2019s a new trend among collecting art institutions to showcase art that has not been allowed to shine in their galleries for ages, if ever. From the exhibition of Bhupen Khakhar\u2019s \u201cKali\u201d (1965) for the first time ever since it was purchased in 1967 by the Museum of Modern Art, or Thelma Johnson Street\u2019s \u201cRabbit Man\u201d (1941), which was purchased in 1942 but never shown \u2014 both of which are currently on display in MoMA\u2019s Vital Signs<\/em> show \u2014 it\u2019s great to see museums figure out what they aren\u2019t doing right.\u00a0As Shiva Balaghi outlined in her piece about MoMA\u2019s \u201cMuslim Ban\u201d show back in 2017, the reality is institutions are doing a poor job exhibiting their own collections, and when they do it is often much later, which robs audiences of important access to art that doesn\u2019t always fit into the institutional narratives.<\/p>\n8. More Native Curators and Artists at Museums<\/strong> \u2014 There are more Indigenous curators and artists at museums than ever. In the last few years, artists as varied as Shelley Niro, Jaune Quick-to-See Smith, Jeremey Frey, Robert Houle, Nicholas Galanin, and many others have had retrospectives at major American museums, while artists like Kay WalkingStick have been exhibited at the New York Historical alongside their renown Hudson River School collection to explore the political realities that each body of work evokes. This is a trend we adore. More, please.<\/p>\n9. More Local, Community-Based Art Shows<\/strong> \u2014 The year 2024 brought us an open-call exhibition at the Brooklyn Museum featuring more than 200 artists from the borough and<\/em> a \u201csalon des refus\u00e9s\u201d at the Brooklyn Waterfront Artists Coalition, presenting the work of hundreds of artists who submitted to the former and didn\u2019t get in. Meanwhile, at the Flushing Town Hall, over 70 Queens artists were included in the notably diverse World\u2019s Borough Exhibition<\/em>. We love to see more opportunities for emerging artists to show locally, and for us residents to discover them.<\/p>\n10. More Awareness of Age and Ageism<\/strong> \u2014 The art world has made some progress in recognizing the contribution of long-overlooked women and queer artists. On our end, we published a series of 23 interviews with queer elders throughout this year\u2019s Pride month. We must continue honoring those who pave the way for future generations.<\/p>\n11. Being Open About Faith<\/strong> \u2014 There was a time when talking about religion in the art community was frowned upon. It was a strange taboo, considering so much classroom time in art history programs spent looking at Roman Catholic altarpieces, Early Christian manuscripts, Islamic architecture, or Buddhist or Hindu sculpture. But that unofficial ban seems to be lifting, and while some people like to think of contemporary art as a type of secular spiritualism, the art community is finally relaxing and allowing faith to be a bigger part of the conversation in arts institutions. Faith, like anything, is something we welcome as part of conversations. Back in 2003, I remember interviewing a Jewish-American artist who explained that he wasn\u2019t able to find a traditional gallery to exhibit Judaica. Has that changed today? Not fully, but it most certainly is changing. <\/p>\n12. Museums Appointing Provenance Researchers<\/strong> \u2014 The Met Museum hired its first-ever head of Provenance Research this year, after a string of high-profile restitution scandals that led to government seizures of artworks believed to have been looted or otherwise improperly acquired. It\u2019s about time for institutions to have dedicated teams pursuing this work rather than relegating it to overwhelmed and underpaid curators.<\/p>\n13. Playlists for Exhibitions<\/strong> \u2014 As interdisciplinary as the art world claims to be, how did it take so long for us to start incorporating music into the gallery-going experience? We think playlists add another dimension to viewing art, a personal touch, as evinced by the soundtrack Manny Vega curated for his exhibition <\/em>Byzantine Bemb\u00e9<\/em> <\/em>at the Museum of the City of New York this year.<\/p>\n14. QR Codes<\/strong> \u2014 Let\u2019s face it, those printed press releases and checklists that galleries hand out always end up in the trash, wasting resources and polluting our precious planet. Art institutions that still don\u2019t use QR codes should join the trend. Your grandchildren will thank you.<\/p>\n15. Audiobook Catalogs<\/strong>\u00a0\u2014\u00a0While audiobooks are booming in the publishing industry, the field of art has yet to catch up on this trend \u2014 granted, this might be partly because so many artbooks are simply sales catalogues and not really supposed to be read<\/em>, but that\u2019s another story. Earlier this month, I heard Duke University will be creating an audiobook version of Eunsong Kim\u2019s The Politics of Collecting book (check out our podcast with the author), and I hope it is part of a trend to allow us another way to engage with important volumes that we can listen to while we drive, cook, clean, go for a walk, or toil away in our studios. Audiobooks are great, and as someone who listens to them all the time, it would be great to have more art content to explore.<\/p>\n\n\t\t<\/aside>\n\t<\/div>\n