The 2026 National Gallery Prize has been awarded to 65-year-old Italian artist Maurizio Cattelan, a decision that has raised eyebrows in the art world. Known for his provocative works including a golden toilet worth $10 million and a banana taped to a wall that sold for $6.2 million, Cattelan already enjoys significant market success and media attention. Ironically, the artist claims to suffer from a severe form of "award phobia" in excerpts from his upcoming autobiography.
The prize, now in its twentieth year, traditionally serves as an instrument to correct market and attention economies in the art world. While there's no monetary reward, the recognition comes with a solo exhibition at the New National Gallery in Berlin. However, critics argue that awarding an already established artist like Cattelan contradicts the prize's original mission of spotlighting emerging talent and shaping contemporary art discourse.
Cattelan has gained international notoriety through his conceptual works that blend humor with social commentary. His piece "America," a fully functional golden toilet with a material value of $10 million, and "Comedian," the infamous banana duct-taped to a gallery wall that fetched $6.2 million at auction, exemplify his ability to generate both controversy and commercial success. These works have already secured him substantial attention in the art world, raising questions about whether he needs additional recognition.
The National Gallery Prize has undergone significant changes in its selection process. Previously, four artists were nominated and showcased in a joint shortlist exhibition, allowing visitors to compare different artistic approaches and form their own opinions about the winner. This format created unexpected connections between artists and provided comprehensive overviews of emerging trends in contemporary art. The collaborative exhibitions often revealed curatorial insights that might never have emerged otherwise.
The elimination of the shortlist format represents a fundamental shift in the prize's philosophy. Under new statutes, the award now goes to an established artist who hasn't had a solo exhibition in Berlin, rather than focusing on emerging talents. This change sends a concerning message to young artists who face increasingly precarious conditions due to massive cultural funding cuts and limited opportunities for significant recognition.
The timing of Cattelan's selection appears particularly ironic given recent revelations from his autobiography. In excerpts published in the Italian newspaper La Repubblica just before the prize announcement, Cattelan describes suffering from severe "award phobia." He writes that he finds it "more polite to send someone to accept awards on my behalf rather than declining them" and claims he has always found others more interesting than himself. This admission raises questions about whether he will personally accept the prize or send a representative.
Critics argue that by selecting Cattelan, the prize retreats from its role in shaping future artistic importance and directing attention toward unknown but deserving talents. Instead of discovering and promoting emerging voices, the award now simply confirms what the market already recognizes. This shift represents a missed opportunity to influence the contemporary art landscape and support artists who genuinely need platform and recognition.
The prize announcement coincided with the Festival of Future Nows at the New National Gallery, where iconic spaces were given to young artists to showcase their work. For the official prize photograph, Cattelan demonstrated he has no fear of heights by posing on the museum's roof, though his attitude toward awards remains more complicated. The contrast between supporting emerging artists at the festival while awarding an established figure highlights the ongoing debate about the prize's direction.
Looking ahead, events like the Festival of Future Nows may prove more valuable for discovering innovative artistic production and identifying interesting new talents. Meanwhile, the National Gallery Prize risks becoming merely a confirmation of existing market knowledge rather than a tool for artistic discovery and development. Whether Cattelan will overcome his self-proclaimed award phobia to accept the prize in person remains to be seen, but the broader questions about the award's purpose and impact on the art community will likely persist beyond 2026.
