
How Art Insurance Works: Protecting a Collection
An art insurance policy is a contract like any other: premium in, defined promise out, and a claims adjuster testing the wording after a loss.

An art insurance policy is a contract like any other: premium in, defined promise out, and a claims adjuster testing the wording after a loss.

Chelsea holds over 200 galleries, SoHo's dealers left in the mid-1990s, and the Lower East Side grew some 200 outsider spaces at its 1980s peak.

The week before an opening is the part visitors never see. Here is how a show actually gets made.

Court records, not taste, separate homage from infringement: the Second Circuit's Koons and Prince rulings show how the fair use factors weigh borrowed work.

Shared shops like UrbanGlass and the Lower East Side Printshop give New York artists hours on furnaces and presses that no solo studio budget could carry.

A Baltimore nonprofit just hit a 45-year milestone. Here's what organizations like it do for working artists, and why the model matters.

A plain-English glossary of the exhibition types you see on gallery walls, and what each one asks of the artist.

In 2006 Austria returned five Klimt paintings to Maria Altmann, the largest single return of Nazi-looted art in the country's record, nine years after the non-binding Washington Principles of 1998.

Commercial galleries are free, need no appointment, and welcome browsers; a first walk through West Chelsea's 200-plus doors needs only four moves.

Retrospectives gather an artist's work across decades, staged late for the long view, and Canada's documented fee fight put pay behind the honor.