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Since it is auction week and we're addressing art in financial rather than aesthetic terms, let me start off by saying that Sotheby's stock rose nearly eight percent after its blockbuster sale of Contemporary work this Thursday. The firm presided over a total of $320 million dollars in a single evening. I'm pleased when art does well at auction, but auctions invariably give birth to some head-shakers. Who is bidder number 12 who paid over $3 million dollars for a Lee Krasner monstrosity entitled "Polar Stampede"? Why does a posthumous cast by Jean Arp (in an edition of three) double its high estimate to reach a price of $1.4 million? What does the work of Tom Wesselmann offer to the Pop Art conversation at this point in time? Finally, who does Banksy think he is? The graffiti badboy turned cash cow had one of his works in the sale tonight, "Sale Ends Today," a silk-screened depiction of biblical weepers around a titular sign. The piece carried an estimate of $600-800,000 and brought fast bids to $480,000, but when it passed at $550,000 a few witty critics in the gallery applauded its failure to sell.

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It may be coincidence, but it fits neatly that an exhibition about expectations takes place under the banner of a gallery called waiting room. The Zürich-based curator Cynthia Krell has invited international artists to the gallery to examine this concept in different contexts, and in turn to query how this relates to looking at and appreciating art. More than just the expectations that arise as one waits nervously, these artists are looking at preconceived notions, suspicious objects, curious incidents and foregone conclusions.

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Sophie Calle's critically acclaimed exhibition, 'Prenez soin de vous (Take care of yourself)', first show at the Venice Biennale in 2007, will be on view at the DHC/ART Foundation this July. At the heart of the exhibition is a break-up e-mail that the artist received from a lover, which ended with the line "Take Care of Yourself". "I received an email telling me it was over. I didn't know how to respond. It was almost as if it hadn't been meant for me. I asked 107 women (including two made from wood and one with feathers), chosen for their profession or skills, to interpret this letter. To analyze it, comment on it, dance it, sing it. Dissect it. Exhaust it. Understand it for me. Answer for me. It was a way of taking the time to break up. A way of taking care of myself."

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Internationally acclaimed contemporary artists including Christian Boltanski, Tracey Emin, Mark Dion, Jeremy Deller, Tacita Dean, Langlands and Bell (below) and Mark Wallinger have been commissioned to create new works for the first Folkestone Triennial, 'Tales of Time and Space', which will open on 14 June and run until 14 September 2008. One of the most ambitious public art projects to be presented in the UK, the Triennial will present works specially created for public spaces throughout Folkestone.

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"We wear Cain's mark on our forehead. Atrocity has so become our companion we don't recognize it- even when it is standing right before us and unmasking itself.' Angelika J. Trojnarski was born in 1979 in Mragowo, Poland, and left in 2004 to study at the Academy of Fine Arts in Düsseldorf, first under Herbert Brandl and, before his death in 2007, Jörg Immendorff. Her paintings hark back to the advent of modernism with their subdued palette, painterly handling of oils and assemblage of semi-finished and deconstructed imagery culled from an agitated sub-conscious. Several of her works will be on view at the Saatchi Online booth at Scope Basel this June, where it will be possible to buy the work of a selection of Saatchi Online artists.

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