A Jeff Koons “Balloon Dog” sculpture on Snapchat.

COURTESY SNAPCHAT

Around Europe

Documenta 14 had a €5.4 million deficit, and while the art festival has until now kept mum about where the money went, some details have been revealed. Documenta CEO Annette Kulenkampff says that some of the money went to travel, air conditioning, Greek tax hikes, and other unseen expenses. [Artnet News]

Having recently announced plans to open a London space, German gallerist Johann König discusses his newest ventures, including the launch of König Magazine, a new biannual publication. [Frieze]

A piece by the Dutch collective Atelier Van Lieshout has been removed from the upcoming FIAC art fair in Paris. Officials at the Louvre believed that the piece, which features two humans who appear to be having sex, was too offensive to be shown in the Tuileries Gardens. [The Art Newspaper]

Resetting History

Pamela J. Joyner and Alfred J. Giuffrida discuss a traveling exhibition of their collection’s holdings, which rewrite art history to include a focus on black artists. [Vogue]

Art in America has devoted its October 2017 issue to contemporary indigenous art. The cover is done by Hock E Aye Vi Edgar Heap of Birds, who here talks with William S. Smith about resetting historical traditions and drawing inspiration from the Talking Heads. [Art in America]

Unusual Mediums

Listen to an arty mix of music and sound—including a bit of Max Neuhaus’s Times Square, commissioned by the Dia Art Foundation for a hidden spot beneath a subway grate in the teeming Manhattan hub—made by Noah Wall and presented by the irrepressible David Byrne. (To hear it, click the “Play in Pop-Up” link.) [David Byrne]

Good news for fans of Snapchat and Jeff Koons: the app will launch an augmented reality platform that will allow users to see Koons’s “Balloon Dog” sculptures anew. [Techcrunch]

And on the more lo-fi end of the AR spectrum, Molly Soda and Sara Sutterlin have compiled a new anthology that brings together digital artworks in one single volume. [The Verge]

The Critics

Peter Schjeldahl reviews the New Museum’s “Trigger: Gender as a Tool and a Weapon,” a show that he finds interesting but surprisingly tame, given its title. [The New Yorker]

Poet James Fenton addresses “Cristobal de Villalpondo: Mexican Painter of the Baroque,” currently on view in New York at the Metropolitan Museum of Art. [The New York Review of Books]

Adrian Searle gives Superflex’s Tate Turbine Hall commission three stars. [The Guardian]

The Talent

The Institute of Contemporary Art London has added Mo Ibrahim Foundation executive director Hadeel Ibrahim to its governing board. [Artforum]