"Storm of '96" (1996) by Alex Harsley. (Courtesy the artist and June Kelly Gallery)

The New York Post examines the nuanced differences between the Basel art fairs: “Art Basel’s the real one—the one for rich people who are really buying, not the bull[bleep] party one.” [Page Six]

Georgina Adam says that everyone in Europe loves Jeff Koons, but that his prices are uneven. [The Art Newspaper]

Damien Hirst helps children make spin paintings. [The Independent]

Cave paintings believed to be painted by Neanderthals 40,000 years ago found in caves in Spain [NYT]

BAM gives sneak peek of new experimental theater. [Curbed]

Roberta Smith's Documenta review: "It is alternately inspiring — almost visionary — and insufferable, innovative and predictable, meticulous and sentimentally precious. I would not have missed this seething, shape-shifting extravaganza for the world, and I’d rather not see its like again, at least not on this dwarfing, imperious, self-canceling scale." [NYT]

A preview of the Impressionist and modern sales next week. [WSJ]

On Tino Sehgal's This Variation at Documenta. [Guardian]

Holland Cotter raves about "Caribbean: Crossroads of the World" at the Queens Museum of Art, El Museo del Barrio and the Studio Museum in Harlem. [NYT]

And Mr. Cotter reviews the work of the legendary photographer Alex Harsley, who was the cinematographer on David Hammons's Phat Free video. [NYT]