Portrait of a Nation collates the artwork of 50 contemporary artists from the UAE with a central theme reflecting on their homeland and the influence it has had on their practice. Originally shown in Abu Dhabi in 2016, it is now travelling to Berlin.

Cities of Conviction explores the parallels between cities in Saudi Arabia and Salt Lake City, which are centres of religious pilgrimage and have several other elements of shared history.

In Christine Macel's statement for the current (57th) edition of the Venice Biennale she wrote: "Today, in a world full of conflicts and shocks, art bears witness to the most precious part of what makes us human. Art is the ultimate ground for reflection, individual expression, freedom, and for fundamental questions."

Good Printing is an exhibition that explores the medium of print without showing any prints. The 10 artists have work that questions the nature of reproduction and the originality of the image

I AM is a touring exhibition of work by Middle Eastern female artists, which attempts to redress engrained stereotypes. It is currently showing in London

In a podcast interview with Dexter Wimberly, Anna Seaman discusses cultural hybridity and how it affects our identity to live in a multicultural world. The conversation was in the context of The Third Line's exhibition A Fast Moving Sky

As Egypt struggled for sovereignty in the mid 20th century, the country's female artists were also striving for a voice, not only for themselves but across classes, gender and race.

One of the only Turner masterpieces left in private hands is brought to glorious life with CGI technology

Tucked away in the mountain valleys near a village called Madha on the Omani border with the UAE, Abdullah Al Saadi’s studio is a veritable treasure trove of discovery for the art enthusiast. Al Saadi, born 1967, is one of the most prolific Emirati artists and his studio, which he built himself next to his family home, houses the results of his life-long dedication to his art.

Listening to a description of the materials that feature in Lisa Ross’s photographic series Living Shrines, raises doubts as to where, exactly, the living ­element comes in.

This exhibition is also is the first time these two artists have been compared in a scholarly fashion, which is important, not least because Picasso was a notoriously difficult character. His friendship with ­Giacometti seems to reveal a lot of respect for the younger’s talents.

It is testament to the Lebanese artist’s mastery of the medium that, as his viewers take in each work as a whole, its stories reveal themselves easily. In his latest show, the tales are heartbreaking realities of our time.

"My interest is not what things look like, but why they look like that," he says. "I don’t want to represent something or reproduce something we are already familiar with. I want to be involved with the internal structure of the material."