Betty Saar, the celebrated assemblage artist turning 100, is gifting her doll collection to the New York Historical Society. Meanwhile, at this year’s Venice Biennale, performers hang upside-down from bells and pee in tanks – bold statements in experimental art.

The Austrian and Belgian pavilions stand out with their imaginative and challenging performances, slicing through the Biennale's tumultuous atmosphere. Performance art here is not just about spectacle but a profound critique of society and personal identity.

Elsewhere, we explore the work of Ceija Stojka, whose paintings evoke memories of her Romani heritage and independence, while Edmonia Lewis’s retrospective at the Peabody Essex Museum shines a light on diversity in art history. These works remind us that creativity can be a powerful tool for healing and social change.

Betty Saar’s irreverent doll paintings celebrate play as catharsis, reflecting her commitment to subverting racial stereotypes through art. Her gift is both a personal milestone and a testament to the enduring spirit of artistic expression.