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SACKED. Guillaume Cerutti has been dismissed from his plush position as president of the Pinault Collection, with its museums in Paris and Venice, according to a report by Glitz. The Art Newspaper later confirmed he is stepping down. The surprising departure comes only 13 months after the former Christie’s chief executive officer moved to Paris from London for the job of leading French billionaire Francois Pinault’s massive private collection. In the interim, the 89-year-old Pinault, despite reported health issues, will do Cerutti’s job himself. No explanation has been given for Cerutti’s exit. At 60, Cerutti still chairs the boards of Christie’s and the Stade Rennais Football Club, which, along with the luxury goods conglomerate Kering, are all owned by Pinault’s holding company Artémis.

TIP OF THE HAT. One of Napoleon Bonaparte’s rare, unmistakable two-cornered hats will be displayed at the Musée Condé in Chantilly, France, after it went unnoticed and forgotten in museum storage for over a century, reports Le Monde and AFP. When curator Jean-Guillaume Parich did a bit of digging for an exhibit about Napoleon’s sister and queen of Naples, Caroline Murat, he discovered the black felt, bicorn hat, and was able to piece together its impeccable provenance. Newly restored and authenticated, the hat is the centerpiece of the Musée Condé’s Murat exhibition, from June 6 to Oct. 4, and is also one of only four of Napoleon’s signature hats that the disgraced emperor took with him when exiled to St. Helena Island from 1815 until he died in 1821. In his will, Napoleon left the very same hat to his son Aiglon, but after the latter’s premature death, it was given to Napoleon’s sister Caroline in 1836.

The Digest

Bose Krishnamachari resigned as director of the Kochi-Muziris Biennale (KMB) and from the board of trustees of the Kochi Biennale Foundation (KBF), which he co-founded, following an accusation of sexual harassment by one of his subordinates, which Krishnamachari has denied. [The Indian Express]

The Kennedy Center has begun firing staff ahead of a two-year closure for renovation, including top appointees since President Trump took over the center: Nick Meade and Rick Loughery. [The Washington Post]

In a famous photograph of W.E.B. Du Bois with Mao Zedong, both men are absolutely giddy and dressed to the nines: big smiles, stylish hats, long wool coats. That picture—and the 20th-century Afro-Asian alliances it symbolizes—was something of an impetus for “The Great Camouflage,” a show on view at the Rockbund Art Museum in Shanghai through April 26.

Co-curators X Zhu-Nowell and Kandis Williams began with a shared interest in overlapping revolutionary histories and cross-cultural solidarities. It started out as a show about racial capitalism and the role Marxist thought played in anti-imperialist movements—and those are still key themes. But along the way, the curators came across the work of so many women whose contributions, in art and in activism, were overshadowed by the men they married, among them Shirley Du Bois, Eslanda Robeson, Amy Ashwood Garvey, Suzanne Césaire, and Grace Lee Boggs. A project about race and class quickly came to focus on gender, placing Black feminist thought at the fore.

Nearly all the women invoked here were activists, but also artists: Shirley Du Bois and Amy Ashwood Garvey were playwrights, Eslanda Robeson was an actress, and Suzanne Césaire and Grace Lee Boggs were writers. They were interested not only in how revolutionary ideas were argued and made into policy, but also in how they are felt and lived.

Accordingly, “The Great Camouflage,” titled after a text by Suzanne Césaire, is not a didactic show of historical objects, but one of contemporary art—works processing revolutionary histories, often from decidedly feminist perspectives.

Through the lens of Black feminism, revolution becomes decidedly anti-heroic. Pope.L’s sculpture of upside-down, flailing legs, Du Bois Machine (2013), is a far-from-stoic and literally inverted monument. It swaps machismo and triumph for the voice of a little girl, emanating from a speaker placed at the figure’s groin. She tells a true story: one day, in the late 1990s, Pope.L received an envelope full of hair, skin, and dirt that allegedly belonged to Dr. Martin Luther King Jr. It’s practically a relic, but also gross and weird.

Earlier this month, the Whitney Biennial went on view to the usual amount of fanfare—but one work was notably missing from the show. That work, a room-filling installation by Precious Okoyomon featuring stuffed animals and racist dolls suspended from the ceiling by nooses, was initially meant to appear in the lobby. But shortly before the exhibition opened to the press, the artist and the show’s curators pulled the plug on that plan.

The issue, Okoyomon told ARTnews this week, was not the piece’s disturbing subject matter but a more practical problem: they felt they needed more space to realize such an ambitious project. “It didn’t work,” they said of the initial lobby idea. The dolls and animals “needed to be lower. You have to engage with them in a place where you can look at them and be with them.”

We met on the Whitney Museum’s the eighth floor, where their installation, titled Everything wants to kill you and you should be afraid (2026), finally went on view Wednesday. Cupping their poodle, Gravity, they seemed proud of the fully realized version, and they had every right to be—the installation is one of the great pieces of this Whitney Biennial.

An expanded and readapted version of a work previously shown in 2025 at the Kunsthaus Bregenz, a vaunted contemporary art museum in Austria, Okoyomon’s piece features around 50 stuffed animals and dolls that dangle from the floor’s rafters. Sunlight pours in from a skylight that is not regularly exposed to the public, underscoring the sense that this installation is oddly beautiful, despite an uncomfortable mix of cutesiness and queasiness that has become Okoyomon’s signature and made them one of the most exciting sculptors working today.

Torn-open plushies, uncontrollable kudzu, and piles of earthen matter sculpted to form deities have all appeared in Okoyomon’s work, which has been shown in venues ranging from the Venice Biennale to the Palais de Tokyo. According to Okoyomon, binding much of their work is an inquiry into violence and healing. “So much of my stuff comes from endlessly processing,” Okoyomon said. “Adam Phillips says we never get over the masochism of our childhood. And it’s true.”