
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.
Everybody has the same energy potential. The average person wastes his in a dozen little ways. I bring mine to bear on one thing only: my paintings, and everything else is sacrificed to it . . . myself included.
—Pablo Picasso
You see, for me a painting is a dramatic action in the course of which the reality finds itself split apart. For me, that dramatic action takes precedence over all other considerations. The pure plastic act is only secondary as far as I’m concerned. What counts is the drama of that plastic art, the moment at which the universe comes out of itself and meets its own destruction.
—Françoise Gilot
Gagosian is pleased to present Picasso and Françoise Gilot: Paris–Vallauris 1943–1953, the fourth major exhibition in an ongoing series on the life and work of Pablo Picasso, following the critical and popular success of Picasso: Mosqueteros (2009), Picasso: The Mediterranean Years (2010), and Picasso and Marie-Thérèse: L’amour fou (2011). The exhibition includes many important loans from museums, including the Museum of Modern Art, New York; and the Israel Museum, Jerusalem; as well as from private lenders.
This exhibition is a departure from its precedents in that it has been conceived as a visual and conceptual dialogue between the art of Picasso and the art of Françoise Gilot, his young muse and lover during the period of 1943 to 1953. The result of an active collaboration between Gilot and Picasso’s biographer John Richardson, assisted by Gagosian director Valentina Castellani, Picasso and Françoise Gilot celebrates the full breadth and energy of Picasso’s innovations during these postwar years, presenting Gilot’s paintings alongside his marvelously innovative depictions of her and their family life. It is the first time that their work has been exhibited together—that the painterly dialogue between the fascinated mature male artist and the self-possessed young female artist can be retraced and explored.

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.

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.

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.

Inspired by a visit to the Fondation Louis Vuitton’s exhibition Charlotte Perriand: Inventing a New World, William Middleton explores the life of this modernist pioneer and her impact on the worlds of design, art, and architecture.
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.
Jenny Saville reveals the process behind her new self-portrait, painted in response to Rembrandt’s masterpiece Self-Portrait with Two Circles.

Picasso biographer Sir John Richardson sits down with Claude Picasso to discuss Claude’s photography, his enjoyment of vintage car racing, and the future of scholarship related to his father, Pablo Picasso.

Mary Ann Caws and Charles Stuckey discuss the presence of food and the dining table in the history of modern art.

Celebrating the one hundred-year anniversary of Picasso’s first trip to Italy, the Scuderie del Quirinale in Rome is hosting the exhibition Picasso: Tra cubismo e classicismo 1915–1925, a grand presentation of two hundred works by the artist.

Diana Widmaier Picasso, curator of the exhibition Desire, reflects on the history of eroticism in art.

The story behind the sculpture that Diana Widmaier Picasso highlighted in Picasso’s Picassos: A Selection from the Collection of Maya Ruiz-Picasso.

Known influencers, but did they influence each other?