The Louvre-Lens is hosting an exhibition titled Trop mignon ! L'art du bonheur (Too Cute! The Art of Happiness) from September 23, 2026, to January 18, 2027. This exhibition explores the global history of the "cute" aesthetic, tracing its evolution from ancient times to contemporary art. Featuring around 300 artworks, objects, and archival documents, the exhibition examines humanity's taste for tenderness, the need for comfort, and the more complex and sometimes troubling aspects of what is considered "cute." Highlights include a round, pink ambassador of "mignonisme" by Philippe Katerine, a lacquered, croquignolet-style bird by Jeff Koons, and immersive spaces with soft lighting and scents, focusing on themes like cats, plush toys, glitter, and Japanese kawaii culture. According to Annabelle Ténèze, director of the Louvre-Lens and co-curator of the exhibition with Émilie Girard, the idea began as a joke from students 20 years ago but has since grown into a serious project. The exhibition promotes the "rehabilitation of the gooey" and a "revolution of tenderness," aiming to reconnect people with happiness. It identifies recurring "cute" characteristics in art history and across cultures, such as small size, rounded forms, soft colors, gentle materials, large eyes, and large heads reminiscent of babies. These features evoke innocence and vulnerability, often triggering strong feelings of tenderness and a desire for protection. The exhibition highlights the widespread presence of the "cute" from ancient statues to modern social media, noting that such a significant presence in visual culture cannot be ignored by museums or artists. Ténèze emphasizes the importance of acknowledging emotions, pointing out that art history often focuses on tragedy and sorrow, but happiness is essential for understanding the full range of human experience. Among the featured artworks are pastel plush toys made from old hospital sheets by Benoît Piéron, touching photographs of soldiers finding moments of sweetness with animals, and a section dedicated to the animals that have been companions to famous artists, such as David Hockney’s teckels, Agnès Varda’s cat, and William Wegman’s dogs. The exhibition also addresses the darker and more complex aspects of the "cute." It discusses how totalitarian regimes have used cuteness to mask atrocities, such as a photograph of Hitler petting a fawn and propaganda posters of Stalin surrounded by flowers and rosy-cheeked children. It also touches on the environmental and ethical issues of the "cute" industry, such as pollution, toxic microplastics, addictive screen games, overconsumption, and labor exploitation, as seen in the production of Labubu plush toys made in China. These themes are subtly explored through a series of portraits of abandoned Furbys purchased online by Charles Hascoët and through the sweet and creamy paintings of Mireille Blanc, which examine the "cute" as a form of vanity.