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ARTnews dug into the listings for sales at Christie's, Sotheby's, and Phillips to reveal who the consignors for a number of upcoming paintings are.

Dona Nelson stands inches from El Toreador (2023), a massive painting mounted in a steel stand several feet from the nearest wall. They’re looking closely at the surface. “This canvas is from China,” they tell me. “It’s whiter, it’s very soft.”

The Disappointed Tourist is an ongoing project for which Ellen Harvey is making paintings of lost sites suggested by members of the public in response

Together, the concurrent exhibitions Only The Young: Experimental Art in Korea, 1960s–1970s and The Shape of Time, Korean Art After 1989 offer a glimpse of the breathtakingly rapid achievement of a people, built on reservoirs of memory and imagination, optimism, extraordinary resilience, but also on tragedy.

When only works on paper are presented, as they are in Joanna Pousette-Dart’s current exhibition at Locks Gallery in Philadelphia, it provides an opportunity to encounter them as ends in themselves. Too often, works on paper are dismissed as merely means to an end, studies for a painting or mural, perhaps. That this is manifestly not the case here, however, does not deny the importance of correspondence, in both senses of the word: likeness and discourse.