Leah Ke Yi Zheng Joins Antenna Space, Pérez Art Museum Miami to Honor Nicolas Berggruen, and More: Industry Moves for October 28, 2026

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Industry Moves

Leah Ke Yi Zheng Joins Antenna Space: The Chicago-based painter’s first solo show in China will open November 9 at the gallery, which has spaces in Shanghai and Hong Kong. She is also represented by Mendes Wood DM and has been supported by Galerie Emanuel Layr, which recently announced that it would scale back its operations.

Vielmetter Now Represents Patrick Eugène: The Atlanta-based self-taught artist will show work in the gallery’s booth at Art Basel Miami Beach, ahead of a solo show in Los Angeles in fall 2027.

Sandra Terdjman Named 2026–27 Keith Haring Chair in Art and Activism: Presented by the Center for Curatorial Studies (CCS Bard) and the Human Rights Project at Bard College, the position allows the recipient to teach and conduct research at Bard. Terdjman is the cofounder of Kadist, the arts nonprofit that closed its San Francisco exhibition space last year, and of Afield, a grantmaking organization for artist-led projects.

Safwan Masri Joins Office of Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani: Most recently the dean of Georgetown University in Qatar, Masri will serve as executive director of cultural diplomacy, overseeing Qatar’s Years of Culture initiative, as well as the Qatar-China Friendship Association and the Qatar-Africa Business Forum.

Pérez Art Museum Miami to Honor Nicolas Berggruen: The billionaire collector, who is the founder and chairman of the Berggruen Institute, and his family will be honored at the museum’s annual Art of the Party fundraiser on November 7. To coincide with the recognition, PAMM will open an exhibition titled “Picasso–Klee–Matisse: Masterpieces from the Museum Berggruen” this week.

Jeff Bergman Returns to Ryan Lee as Director: He previously worked at the New York gallery from 2021 to 2025 before departing for a director position at Galerie Lelong. “[Bergman] is a valuable addition, bringing a depth of knowledge and experience to support the gallery’s mission,” gallery partner Jeffrey Lee said.

Silver Art Projects Names 2026–27 Residency Cohort: Selected from nearly 2,000 applications, the group consists of 21 new fellows, four returning senior fellows, and one distinguished artist-in-residence, Shantell Martin. Each will receive a year of studio space at the organization’s 120 Broadway building.

The Big Number: $47.3 M.

That’s how much “Jodi,” a 67-million-year-old Nanotyrannus skeleton, sold for at Sotheby’s yesterday. Recently affirmed as a distinct species related to the ever-pricey Tyrannosaurus rex, rather than a juvenile of it, Jodi couldn’t best its distant cousin at auction. The record for a dinosaur skeleton, a booming auction category since 2020, still stands at $50.1 million, achieved in July when Sotheby’s sold the T. rex “Gus,” also around 67 million years old. T. rex skeletons have been the most prized fossils since “Sue” sold for $8.4 million in 1997, a title it held until “Stan,” another T. rex, sold for $31.8 million at Christie’s in 2020. But their reign was interrupted by a two-year interregnum after billionaire collector Ken Griffin forked over $44.6 million for “Apex,” a nearly complete, roughly 150-million-year-old Stegosaurus skeleton. Will Gus have a long reign, or is it just the beginning of a contested intermediate period? Only time will tell.

Read This.

If, like me, you’ve been waiting for the third part of Julie Brener Davich’s multipart series on Pace Gallery, titled “Pace to the Bottom,” the wait is over. Part one gave a broad overview of the gallery’s history, and part two looked at CEO Marc Glimcher’s courting of Silicon Valley billionaires and his forays into art-tech collaborations. Part three goes deep into what Davich, drawing on the sources she interviewed, describes as “claims of ‘reckless’ executive spending.” Glimcher isn’t the only one implicated, but he did hire Alexander Gilkes, a luxury lifestyle whisperer of sorts, who made sure Pace had $12,000 coffee machines on every floor and kombucha and $12 bottles of water in the fridges. It’s little wonder the gallery is now in financial trouble. It has laid off staff, cut artists from its roster, looked for a new space in London, and is trying to sublet its custom-built (but rented) headquarters in Chelsea. To be fair to Glimcher, who sat for a 90-minute interview with Brener Davich, he rejected the charge of irresponsible spending: “We spend on ideas, projects, production, and programming, but we try to avoid spending on frivolous and wasteful things,” he said. To catch up on the series, subscribe to Davich’s Substack, The Appraisal.