Daily Newsletter Plus, a peek into the Biennale's main exhibition, a poetic procession for Koyo Kouoh, a film about a painter and an art forger, and more. At the United States pavilion for the 2024 Venice Biennale, Jeffrey Gibson’s work was a joyful celebration of Indigenous life; in 2022, Simone Leigh’s was a hymn to Black sovereignty. How, then, did we get Alma Allen’s art from the “land of the bland” at this year’s edition? That’s precisely what Editor-in-Chief Hakim Bishara wanted to know. Read his full review for a snapshot of the sad state of affairs at this year’s US pavilion. Also in Venice, Editor-at-Large Hrag Vartanian offers a peek into In Minor Keys , the main exhibition of the Biennale, which he calls “an unexpected symphony.” And in the Giardini, Greta Rainbow reports from a poetry procession in honor of Koyo Kouoh, the artistic director of the Biennale, who passed away last May. More in this edition, including art crime scholar Erin L.…