Features

Four stained-glass panels from a group of eight depicting scenes from the life of John the Baptist, made in Rouen in c. 1510 and installed in the south wall of the Burrell Collection, Glasgow.
The rebuilt Svaneti Museum of History and Ethnography in Mestia, Georgia, which reopened in 2014. Photo: Georgian National Museum/Fernando Javier Urquijo
Half-length portrait of kabuki actor Kawarazaki Gonjuro as Ono no Yorikaze (detail; 1863), Utagawa Kunisada. Photo: © Trustees of the British Museum
Meat-shaped stone, China, Qing dynasty. National Palace Museum, Taipei
Mystic marriage of St Catherine (detail; c. 1575), Lavinia Fontana.
Plate by Thomas Bentley from Designs by Mr. R. Bentley, for Six Poems by Mr. T. Gray (1753)
Unbaled Truck (2021), Charles Ray.
The Death of Socrates (detail; c. 1786), Jacques-Louis David. Private collection
Ritratto di bambina (c. 1770), Lorenzo Tiepolo.
A rally against Islamophobia at Bastille Square, Paris, in 2014. Photo: Mustafa Yalcin/Anadolu Agency/Getty Images
A Fall of Bind (detail; n.d.), George Bissill
The Smithsonian’s Arts And Industries Building, Washington, D.C. Photo: Ron Blunt; courtesy Smithsonian
Thierry Mugler with Jerry Hall at his fashion show in March 1995 in Paris.
The Blue Boy (1770; detail), Thomas Gainsborough. Huntington Library, Art Museum and Botanical Gardens, San Marino.
Installation view of ‘Open Storage Africa. Appropriating objects and imagining Africa’ in the Humboldt Forum, Berlin.
Taipei Performing Arts Center by OMA.
The Alexander Palace Egg (1908; detail), Henrik Wigström for Fabergé. Moscow Kremlin Museums.
Buchanan Castle, Stirlingshire, as it is today.
Progetto di piramide in vetro antiproiettile per l'isola di San Paolodi, di proprietà della Famiglia Beretta (2009), Riccardo Benassi.
David Oyelowo and Jessica Plummer in ‘The Girl Before’.
Stag plaque, 8th–6th century BC, Eleke Sazy burial complex, Kazakhstan.
Installation view of Kara Walker’s ‘Presenting Negro Scenes Drawn Upon My Passage through the South and Reconfigured for the Benefit of Enlightened Audiences Wherever Such May Be Found, By Myself, Missus K.E.B. Walker, Colored’ (1997) and (above) Cauleen Smith’s ‘The Right Time, Before and After’ (2017) in ‘Toward Common Cause: Art, Social Change, and the MacArthur Fellows Program at 40’