Kordansky Takes On Keith Sonnier, Trellis Grants: Industry Moves

Art Market Moves: Rebecca Ackroyd, Keith Sonnier Estate, and Omolola Coker Lead a Busy Week

A cluster of gallery signings, prize announcements, and grant news offered a compact snapshot of the art trade this week, with new representation for Rebecca Ackroyd and the estate of Keith Sonnier among the most closely watched developments.

Deborah Schamoni Gallery in Munich has added British sculptor Rebecca Ackroyd (b. 1987), who is based in Berlin, to its roster. The gallery plans a solo exhibition for September, and Ackroyd will also be presented at Art Basel this week, giving the move immediate visibility on both the fair and exhibition fronts.

David Kordansky Gallery also made a notable announcement, saying it now represents the estate of Keith Sonnier (1941–2020), the Post-Minimalist sculptor whose work remains influential for its use of light, line, and industrial materials. A major work by Sonnier is currently on view through Art Basel’s inaugural Basel Exclusive initiative, and the gallery will mount a solo exhibition of his early neon sculptures in Los Angeles this September.

In Lagos, Omolola Coker won the inaugural Myma Art Prize. Born in London in 1992 and based in Lagos, the batik artist was selected from a group of finalists whose work was shown at Yenwa Gallery. The prize includes $5,000 and a fully funded three-month residency at Nosona Studios in Benin City, running from July through September.

Support for artists also came through Trellis Art Fund, which announced its third round of Milestone Grants totaling $1.2 million. The organization is awarding $100,000 each to 12 artists, including Kelly Akashi, Charles Atlas, Alex Da Corte, and Senga Nengudi. Four of the grants were reserved for artists who are caregivers to children, senior family members, or others in need.

Villa Albertine, meanwhile, named 60 artists and thinkers for its 2027 residency cohort. The French Institute’s U.S. residency program will place participants across nearly 25 cities and regions, marking the announcement as the organization celebrates its fifth anniversary.

The week also brought a sharper note of market self-critique. Pace Gallery’s recent layoffs and roster cuts drew pointed commentary from Jerry Saltz, who called the gallery the “Fyre Festival of mega-galleries” and argued that its expansion model had chased too many of the art world’s recent fads. In a season defined by movement, the criticism underscored how closely the market is now being watched for the stories it tells about its own excesses.