Record 3.5 million visited in 2025 and plans are afoot to ensure gallery does not become overburdened like Louvre

The head of the Prado has said the Madrid art museum does not need “a single visitor more” after it welcomed a record 3.5 million people last year, adding that plans are being drawn up to ensure it does not become a victim of its own success like the Louvre in Paris.

In 2025 the Prado, which is home to such masterpieces as Velázquez’s Las Meninas and Hieronymus Bosch’s The Garden of Earthly Delights, was visited by 3,513,402 people, an increase of more than 56,000 from the previous year. Visitor numbers have risen by more than 816,000 over the past decade.

Experts at the Mauritshuis in The Hague believe Paulus Potter toned down The Bull to respect 17th-century sensibilities

The Bull by Paulus Potter is one of the star paintings at the Mauritshuis in The Hague, a bucolic image of animals and a farmer.

But new research suggests the painting has unexpected hidden depths: conservators restoring the artwork say the bull’s testicles were originally much larger, and appeared to have been halved in size by the artist to respect 17th-century sensibilities.

Long criticised as overcrowded and filthy, the city’s Zando marketplace has had an elegant and sustainable redesign

Selling vegetables was Dieudonné Bakarani’s first job. He had a little stall at Kinshasa Central Market in the Democratic Republic of the Congo. Decades later, the 57-year-old entrepreneur is redeveloping the historic marketplace that gave him his start in business to be an award-winning city landmark.

Bakarani hopes to see the market, known as Zando, flourish again and reopen in February after a five-year hiatus. The design has already been recognised internationally; in December, the architects responsible for it won a Holcim Foundation award for sustainable design.

A new exhibition at the New York Historical museum looks at the immigrant experience in New York City through a range of revealing and diverse viewpoints, with more than 100 photographs and objects showing how the city has been shaped by people from across the globe. The exhibition runs to 29 March

Critics and curators are reframing great artists, from Gentileschi to Soutine, to fit with modern ethical narratives. But this ignores the glorious ambivalence of their creations

One rainy afternoon last winter, sitting under a blanket with a cup of tea, I found myself Googling paintings by Chaïm Soutine. It’s a pastime I’ve indulged ever since visiting an exhibition of his portraits of hotel staff on the French Riviera during the 1920s – paintings that combine such a mixture of tenderness and debasement that it’s as if his brush is kissing and beating his subjects at the same time.

I flicked through images of hopelessly innocent cooks and bellboys, with complexions the colour of raw sausage and ears that look as if they have been brutally yanked. And as I did, I came across a review of the very show where I had first encountered Soutine’s works. Ah, I thought, looking forward to luxuriating in literature about his particular genius for kindly sadism.

For the first time in the UK, the photographer’s magnum opus is going on display in its entirety – introducing new viewers to New York’s edgy downtown scene and a generation lost to Aids. Here, she looks back at the ‘fearlessness and wildness’ of her life and times