We are back this week with our monthly edition of the Art Angle Roundup, where co-hosts Kate Brown and Ben Davis are joined by a special guest to parse some of the biggest headlines in the art world. Usually, we look back on the previous month, but as we head into the holidays and close out a busy calendar in the art world, we are doing things differently for the last roundup of the year, reviewing all of 2024 and the trends, themes, and stories that defined it.

It was tough going in the art market, where slumped sales were countered by some big flashy media moments, including one duct-taped banana and a lot of other novelties and masterpieces that tried to grab dwindling attention spans and loosen tightened purse-strings. Did the approach work out for the market? (spoiler: not exactly; the industry experienced a rash of gallery closures). We discuss what that all means for the outlook for 2025.

In the realm of politics, culture workers and artists vocalized frustrations with arts institutions they deemed to be silent or lagging on key global issues. Picket lines continued to proliferate around this, and livewire discussions about aesthetics were ignited by the Venice Biennale and the Whitney Biennale this year, both of which received mixed reviews.

At the same time, a new era of technology—led by leaps of progress in the realm of artificial intelligence—is being ushered in and changing the way we see and understand art, and other kinds of work (some of the work is arguably not quite art) that is being made. There are also some ridiculous and fun stories in the mix, because this is the art world, a place that is known to be, well, deeply unusual.

To discuss all this and more, senior editor Kate Brown and art critic Ben Davis, jumped on the air with Andrew Russeth, Artnet Pro editor and art critic. They parsed the headlines and the conversations that stirred the art industry in a year that was anything but ordinary.

—Kate Brown