Eliana Willis

In the late 1980s, Mike Kelley unsettled audiences from Chicago to Los Angeles with his provocative site-specific work Pay for Your Pleasure. Kelley funneled visitors through a colorful corridor of 42 cultural icons each affixed with a quote celebrating rebelliousness. The work mocked society’s assumptions that artists were pure, their work liberating.
For his new show at Gagosian, Takashi Murakami openly riffs off Kelley’s work exchanging creatives for economic figures and poster art aesthetics for pixelated computer graphics. On a technicolor timeline, we meet the likes of Adam Smith, John Maynard Keynes, bitcoin creator Satoshi Nakamoto, and Ethereum creator Vitalik Buterin.
The images began as pixelated portraits for Murakami’s OpenSea account, but now, with the quotes attached it’s hard to tell the meaning, particularly given Murakami’s ongoing market dominance and engagement with NFTs.
Installation view of “Understanding the New Cognitive Domain,” 2023. Photo: Thomas Lannes, courtesy Gagosian.
“Understanding the New Cognitive Domain,” which is presented at Gagosian’s Le Bourget location on the outskirts of Paris, duly stages some of Murakami’s blockchain-related ventures, even if his large-scale paintings dominate the gallery. Most hyped is “Flower Jet Coin NFT,” a pixelated version of Murakami’s classic smiling flower, minted and gifted free of charge to visitors on the opening day of the show.
“I think NFTs can be a token for people to enter my world and feel closer to my art,” Murakami told Artnet News, noting he’d done something similar with miniature sculptures in gum machines. “To me, it is really important for people to experience my worldview, and not just through my paintings and sculptures. I need different forms for people to experience my work.”
Gallery view of Murakami’s NFT paintings. Photo: Thomas Lannes, courtesy Gagosian.
The Tokyo-based artist also presents his inversions: physical versions of works he originally created digitally as NFTs. Murakami entered the NFT market a matter of weeks after the $69 million Beeple sale at Christie’s, though the artist equally credits the influence of watching his children enter the world of the metaverse through gaming.
His superflat aesthetics and cutesy characters have been a hit with the Web3 crowd. Among his most popular drops was 2021’s Clone X NFTs, a collection of 20,000 algorithmically generated characters built for the metaverse. At Le Bourget, Murakami presents two of the anime-esque avatars in offline works on mirror plates.
Despite these ongoing forays into the realm of NFTs, most of the show stands firmly on long-established ground—in one instance quite literally with Dragon in Clouds – Indigo Blue, a 12-foot-long work from 2010. Dwarfing the indigo dragon in scale is a new work based off the stage curtain Murakami created for Tokyo’s main Kabuki theatre. Commissioned by director Takashi Miike, the 75-foot-long acrylic on canvas is something of a celebration of giants from Japan’s art, film, and theatre worlds.
Takashi Murakami, Dragon in Clouds – Indigo Blue (2010). Photo: Sebastiano Pellion di Persano, courtesy Gagosian.
There’s something of everything at Murakami’s latest Gagosian show (or should we call it a drop) and this aligns with an artist who sees the worlds of crypto, NFTs, and art merging.
“One of the goals of NFT art is really to expand the cognitive dimensions of value,” Murakami said. “To challenge the concept of value and what it is. This is understanding the new cognitive domain.”
See more images from Murakami’s show below.
Takashi Murakami, The Name Succession of Ichikawa Danjūrō XIII, Hakuen, Kabuki Jūhachiban (detail) (2023). Photo: Thomas Lannes, courtesy Gagosian.
Installation view of “Understanding the New Cognitive Domain,” 2023. Photo: Thomas Lannes, courtesy Gagosian.
Installation view of “Understanding the New Cognitive Domain,” 2023. Photo: Thomas Lannes, courtesy Gagosian.
Installation view of “Understanding the New Cognitive Domain,” 2023. Photo: Thomas Lannes, courtesy Gagosian.
“Understanding the New Cognitive Domain” is on view at Gagosian Paris, 26 avenue de l’Europe, Le Bourget, through December 22.

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An open closet now stands in New York’s AIDS Memorial Park. In it are hangers and hoodies, stacked boxes and folded weekend bags. The structure looks, in other words, like a generic storage space. It is and it isn’t.  
The piece, called Craig’s Closet (2023), was created by artist Jim Hodges as a memorial to the more than 100,000 New Yorkers who have died as part of the HIV/AIDS epidemic—more than a few of whom he called friends and colleagues. It’s built to scale in granite and bronze and painted in an eerie, funereal black.  
You needn’t know the name of Hodges’s sculpture to understand that it was based on a particular person. The specificity of the artwork, right down to the wrinkles on the shirts, reveals that the piece was an act of recreation rather than strict imagination. But despite the attention to detail, we still don’t know who Craig is. We don’t know their surname or relationship to the artist; we don’t know if they died or how.   
Hodges, for his part, is not interested in sharing that information. He doesn’t want speculation about his relationship to the subject to distract from the universal valence of the piece. 
“The personal is all evident within the work itself,” he said in an interview. “I think to expand on that narrative takes away the focus of the object and I would prefer not to do that.”  
This is one of many tensions at the heart of the artwork. Craig’s Closet is intimate yet anonymous. Its material is hard but its subject matter is soft. Like most public pieces, it’s tough and heavy, built to withstand weather and crowds; but what it symbolizes is the opposite: the fragility of life.  
Jim Hodges, Craig’s Closet (2023), detail. © Jim Hodges. Courtesy of the artist and Gladstone Gallery. Photo: Daniel Greer.
Hodges, who lives and works in New York, moved to the city as an upstart artist back in the mid-1980s, during the height of the HIV/AIDS epidemic. He absolutely did know many who were impacted by the crisis, including his close friend Felix Gonzalez-Torres, who died from an AIDS-related illness in 1996.  
But when asked about these experiences Hodges again hedged, insisting that his sculpture points outward rather than back at himself.  
He instead directed attention to the history of the site on which his artwork stands. Nearby is St. Vincent’s Hospital, a facility once referred to as “ground zero” of the AIDS epidemic, as well as to the neighborhood haunts of Greenwich Village, home to generations of artists, activists, and performers. 
Hodges said the goal of the piece was to “utilize that space and its proximity and context as a kind of portal of expansion for people to enter from their own points of reference.” Fittingly, the bare back of the sculpture is reflective: “One being able to catch a glimpse of themselves in the work is important to me,” he added.  
That Hodges settled on the closet, an already loaded metaphor, for his memorial says a lot about his intentions. The sculpture subverts the site as a space in which identities are concealed. Instead, it presents the closete as a kind of stage on which we place all the little tokens of our lives.  
“The scene is set, and narratives blossom whenever the doors swing open,” the artist wrote in a description of his piece. “This opening gives us a reminder, an understanding of who we are, where we have been, secrets, and the dreams we hold.” 
Jim Hodges, Craig’s Closet (2023), detail. © Jim Hodges. Courtesy of the artist and Gladstone Gallery. Photo: Daniel Greer.
The care with which Hodges crafted the sculpture hints at just how personal it is to him, even if he declines to talk about it. “An awful lot of love goes into making a work that you want people to feel,” he said. “That’s the standard: loving it.”  
Craig’s Closet (2023) is on view now through May of 2024 in the New York City AIDS Memorial Park. 
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Last month, the Louvre was involved in a top secret mission to evacuate 16 fragile cultural objects out of Ukraine for safekeeping. The artifacts traveled in convoy from the Bohdan and Khanenko museums in Kyiv via Poland and Germany and are now no longer at serious risk of damage or theft.
An exhibition of five sacred icons from the group opened earlier this week in the Denon wing at the Paris museum. Four are 6th and 7th century encaustic paintings on wood that originated from Saint Catherine’s Monastery in Egypt. The fifth is a late 13th- or early 14th-century micro-mosaic from Constantinople with a highly intricate gold frame.
Micro-mosaic icon representing Saint Nicholas. Photo: © Khanenko Museum.
Ukraine’s culture minister attended the display’s official unveiling at the Louvre on Wednesday. “It’s a very symbolic and effective gesture of support for Ukrainian culture,” he told members of the press, according to Reuters. “[The Russians] are stealing our artifacts, they ruined our cultural heritage sites and this shows how big and huge Ukrainian culture is, which is part of world heritage.”
The initiative to secure the icons has been in the works since December 2022, when Louvre staff first began collaborating with colleagues at the two Ukrainian museums. The unprecedented mission was developed in partnership with the International Alliance for the Protection of Heritage in Conflict Areas and was kept entirely secret.
“Like other museums, we have been concerned to see how we can support our Ukrainian colleagues. In the autumn, faced with the intensity of the conflict, we decided to carry out this rescue,” the Louvre’s president, Laurence des Cars, told the press agency AFP. “It’s not much in a sea of sadness and desolation, but it’s a symbol.”
The Louvre’s new display “The Origins of the Sacred Image” sets out to explore early classical influences on Byzantine civilization and will be supported by new analysis and research by Ukrainian and international specialists. It has also been billed as something of a teaser for what audiences can expect from the Louvre’s forthcoming new department of Byzantine and eastern Christian art, set to open in 2027.
The 16 objects are now being safeguarded at the Louvre, but there are also efforts to protect cultural treasures in Ukraine. Shortly after war broke out in February 2022, the Khanenko removed and hid its entire collection of 25,000 works. This limited the damage of a missile strike that hit the historic building last October. The Taras Shevchenko Museum was also targeted.
Another museum collaboration in support of Ukraine was announced this week. The Met and the Smithsonian are partnering to help train a group of soldiers to become Monuments Men, who will better equipped to protect cultural heritage while deployed in Ukraine.
“The Origins of the Sacred Image: Icons from the Bohdan and Varvara Khanenko National Museum of Arts in Kyiv” runs through November 6, 2023. 

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A 1973 train trip through Siberia to Moscow by rock legend David Bowie is now the subject of a museum exhibition. “David Bowie in the Soviet Union” at California’s Wende Museum features his friend Geoff MacCormack’s photos of the rock star at the end of his worldwide Ziggy Stardust/Aladdin Sane tour, in which the photographer participated as a singer, percussionist, and dancer. 
After a concert in Yokohama, Japan, Bowie—who had a phobia about flying due to a fortune teller’s prediction that he would die on a plane—suggested he and members of his entourage take the Trans-Siberian Express train, running along the longest railway line in the world at some 5,772 miles, en route to Paris via Warsaw and East Berlin. Using a Japanese Nikkormat camera, MacCormack (aka Warren Peace), who had known Bowie since they were eight years old, captured intimate moments with the musician throughout the train trip.
Geoff MacCormack, David Bowie in Front of the Trans-Siberian Express, 1973. Courtesy of the artist and Wende Museum.
Bowie and MacCormack mixed with fans and caroused with soldiers and sailors, with the aftermath depicted in MacCormack’s David Bowie After Long Drinking Sessions on the Train (1973). MacCormack also documents everyday moments like a woman skipping rope on a train platform and Russian boys posing for the camera. Leee Black Childers, photographer and writer, shot Bowie and MacCormack on the train and in Moscow. 
The show includes Bowie’s own The Long Way Home, a nearly eight-minute documentary, shot on 16mm film during the trip itself, that includes their attendance at the May Day Parade in Moscow. MacCormack’s photos are interspersed with Bowie’s footage. Also included in the film program is a 20-minute interview with Bowie in the USSR in 1996 by Artemy Troitsky. The exhibition is guest curated by Olya Sova, an independent curator who divides her time between London and L.A. and runs the arts organization The New Social. 
MacCormack published the photographic memoir David Bowie: Rock ‘n’ Roll With Me this spring. It’s named after a song on Bowie’s 1974 album Diamond Dogs that he co-wrote. 
Accompanying the show is a playlist put together by Los Angeles non-profit online radio station dublab.
See more photos from the show below.
Leee Black Childers, David Bowie and Geoff MacCormack on the Trans-Siberian Express (1973). Courtesy of the artist and Wende Museum.
Geoff MacCormack, David Bowie After Long Drinking Sessions on the Train (1973). Courtesy of the artist and Wende Museum.
Geoff MacCormack, Skipping Lady (1973). Courtesy of the artist and Wende Museum.
Leee Black Childers, David Bowie and Geoff MacCormack at the May Parade at Red Square (1973). Courtesy of the artist and Wende Museum.
“David Bowie in the Soviet Union” is on view at the Wende Museum, 10808 Culver Blvd, Culver City, California, through October 22.

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