‘It’s a sinewy and organic thing, almost threatening, in an otherwise boring district of embassies and hotels’

Six-years in the making, the comprehensive ‘Museum of Obsessions’ tracks the life and work of the prolific and enormously ambitious curator 

Sam Thorne on the abundance of artists creating clouds, or works that cloud our vision 

A new book on the legendary curator Walter Hopps 

What are the implications of documenta 14’s focus on the aural?

Exhibitions from, or about, the past that help make sense of the present 

Recently released online, MoMA’s vast exhibitions archive shakes up the modernist canon

How are art schools changing?

The rise of the artist-curated biennial

Is a new greenhouse in Mexico a blueprint for the museum of the future?

Sam Thorne invites ten curators to reveal how they envision the museum 25 years from now

Sam Thorne discusses activism, collaboration and the uses of absurdity with Ahmet Öğüt

56th Venice Biennale, various venues, Italy

Last spring I moved from London, where I'd been living for seven years, to St Ives. A mere 5½-hour train journey from the capital (or, if you're intrepid, a night on the sleeper train), the small Cornish town is perched close to Britain's southwestern tip. It's been a home to artists and writers since at least the 1880s. As the artist Linder – the inaugural resident artist at Tate St Ives, where I work – pointed out to me soon after I arrived in March, it's a place where the ghosts of modernism are everywhere palpable. It's also a place where, thanks to the legacy of artist-potters Bernard Leach and Shoji Hamada, the veil between art and craft feels especially thin.

A Tetris stack on the bank of the Kura River

Museums take on social practice

Reading as information control: the poet Tan Lin talks to Sam Thorne