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Add Texture to GoogleThe silence that sometimes surrounds even the most spectacular transactions in the art market resonates in a special way in the hushed galleries of the Metropolitan Museum of Art. Since the spring of 2026, Gallery 609, dedicated to European paintings, has been home to a distinguished guest whose presence has not been the subject of any official announcement by the institution. It is the Madonna of the Spindles (known as the Lansdowne Madonna, c. 1501–1505), a devotional work attributed to Leonardo da Vinci and his workshop. This long-term loan marks a turning point for American public heritage: it is only the second work associated with the Renaissance master to be on permanent display in a public collection in the United States, joining the portrait of Ginevra de’ Benci held at the National Gallery of Art in Washington, D.C.
The Griffin Enigma and the $250 Million Mark
Behind this low-key exhibition lies a major acquisition by Kenneth C. Griffin, founder and CEO of the hedge fund Citadel. While the collector is known for his high-profile moves in the secondary market, the financial details of this private transaction remain shrouded in mystery. Persistent rumors in insider circles suggest a purchase price of $250 million (approximately 235 million euros). When asked about the terms of the deal, Ken Griffin’s spokesperson declined to comment, maintaining the secrecy typical of major private fortunes.
Beyond the prestige of owning a “Leonardo,” this acquisition raises questions about the dynamics of the High Renaissance art market. A theory is circulating among the most seasoned observers: the public disclosure of this record-breaking $250 million figure could be a strategic maneuver aimed at bolstering the value of related works. In particular, there are suspicions of an attempt to bolster the value of a potential “counterpart” or a work derived from the famous *Salvator Mundi*, which could soon be offered at auction with a reserve price, following the alleged failure of private negotiations.
The Kilongo Affair: Between Detentions and Financial Setbacks
The contrast is striking between the splendor of Renaissance masterpieces and the darker realities of running contemporary galleries. Gabriel Kilongo, a rising star in the art world and founder of the Jupiter Gallery in New York, is going through a period of severe turmoil. The art dealer, born in the Democratic Republic of the Congo and raised in Israel after fleeing the region’s wars in the 1990s and 2000s, was recently placed in administrative detention by ICE (Immigration and Customs Enforcement), the U.S. federal immigration agency.
His release was confirmed by James Snyder, director of the Jewish Museum in Manhattan, but Kilongo’s troubles do not end there. On the administrative front, his business entity, the Jupiter Gallery, was officially dissolved on September 25, 2026, for failing to file its required annual report. Added to this are several legal proceedings concerning unpaid rent and outstanding payments to artists featured by the gallery. While some cases have been resolved through out-of-court settlements, others remain open, casting a shadow over the rise of this art dealer with an unconventional career path. Gabriel Kilongo, for his part, declined to comment when contacted.
Dispersion of the Jeff Koons Collection and Expansion into Italy
The New York art market is also poised for a major event with the announcement of an auction of part of Jeff Koons’s personal collection. Estimated at approximately $100 million (€94 million), this collection reveals the eclectic and discerning tastes of the world’s most expensive artist. Among the highlights is René Magritte’s painting *Les idées claires* (1955), a work expected to capture the attention of Surrealist collectors. This sale is being closely watched as an indicator of the health of the market for works with prestigious provenance.
At the same time, Manhattan’s appeal to European art dealers shows no sign of waning. Italian dealer Mattia de Luca has just solidified his presence on the Upper East Side by opening a permanent exhibition space on East 69th Street. The choice of location is symbolic, as he is moving into the former premises of David Zwirner, signaling a desire to establish a lasting presence on New York’s high-end art scene.
Reconciliations and a Cinematic Interlude
The art world is also a stage for complex human relationships where rivalries can give way to collaborative projects. Such is the case with the reconciliation between art dealer and artist Kenny Schachter and gallery owner Vito Schnabel. After public disputes, the two men seem to have found common ground, coinciding with Schnabel’s foray into cinema.
Vito Schnabel is indeed set to make his acting debut in a feature film titled *The Trainer*, directed by Tony Kaye. The film’s release, scheduled for early 2027, is highly anticipated in cultural circles, marking the growing overlap between the worlds of contemporary art and independent cinema. This diversification underscores a fundamental trend: major players in the art market are no longer content with the white space of their galleries but are seeking to embody more global cultural figures, blending commerce, collecting, and creation.
