Hito Steyerl, How Not To Be Seen. A Fucking Didactic Educational .Mov File (still), 2013.

COURTESY THE ARTIST; KOW, BERLIN; AND ANDREW KREPS GALLERY, NEW YORK

The “Power 100” List

ArtReview released its annual “Power 100” list last night. You’ll probably be able to guess many of the names—Adam Szymczyk and David Zwirner still rank highly—but #1 is a surprise: the video artist Hito Steyerl. [ArtReview]

Artsy broke down the “Power 100” list and compared this year’s edition to ArtReview’s first list, from 2002. They found that the list has gotten more female, less white, and less European since its inception. [Artsy]

Museums

For the first time ever, the public can now see 250 works from the Gurlitt trove, the Associated Press reports. They’re on view in Germany at Bonn’s Bundeskunsthalle, where an exhibition is devoted to the collection of Cornelius Gurlitt, who for years owned work that was likely looted by the Nazis. [ABC News/Associated Press]

The Cleveland Museum of Art has unveiled an ambitious new strategy for the next decade, Cleveland.com reports. The museum aims to bring in 1 million visitors per year and acquire $1 billion worth of art. [Cleveland.com]

At long last, Indonesia’s Museum of Modern and Contemporary Art in Nusantara will open this weekend, the South China Morning Post reports. On view there will be paintings and sculptures that are owned by ARTnews “Top 200” collector Haryanto Adikoesoemo. “What we are offering is something very different to what already exists in Indonesia,” director Aaron Seeto said. [South China Morning Post]

Royalty

According to the Associated Press, Prince Charles made a stop at the Islamic Arts Museum in Malaysia, a country that he said has always fascinated him for its “rich cultural and racial diversity.” [The Miami Herald/Associated Press]

Market

Ken Yeh will now be Phillips’s senior vice president and senior international specialist of 20th-century and contemporary art, according to Artforum. Yeh previously worked at Acquavella Galleries, where he was director. [Artforum]

With this year’s Artissima, director Ilaria Bonacossa aims to make the buzzy Italian art fair even livelier. “We wanted to feature more younger artists and experimental work to push the idea that it’s not just about Modern art,” Bonacossa tells the Art Newspaper in a preview report. [The Art Newspaper]

The Critics

In a review for the New York Times, Holland Cotter takes on the Whitney Museum’s Jimmie Durham retrospective, which he says puts on full display the artist’s “singular, cantankerous, container-resistant career.” [The New York Times]

For the Paris Review, Kyle Chayka writes on Walter De Maria’s The Earth Room, which is now 40 years old. As Chayka notes, De Maria never spoke much about the installation, so let Chayka elucidate it for you. “The piece,” he writes, “is static and permanent, a place visitors can, and do, return to over the course of decades as a pilgrimage.” [The Paris Review]