Three times a year Artforum looks ahead to the coming season. The following survey previews fifty shows opening around the world between January and April.

William Forsythe

PINAKOTHEK DER MODERNE, MUNICH

April 22-July 16

Curated by Bernhart Schwenk

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Shall we dance? In keeping with the Pinakothek der Moderne's stated mission to present "exhibitions and events from various cultural domains," curator Bernhart Schwenk has invited the deconstructionist choreographer William Forsythe to take over the museum this spring.

Born in New York in 1994, Forsythe trained at the Joffrey Ballet School and performed with the Joffrey before being recruited to join the Stuttgart Ballet in 1973. In 1984 he began directing the Ballet Frankfurt, turning it into a groundbreaking company that kept Germany at the forefront of the avant-garde for twenty galvanizing years. When government budget cuts led to the dance-world-shattering dissolution of the Frankurt group in 2004, he established the smaller, more flexible eighteen-artist ensemble called the Forsythe Company, based in Dresden and Frankfurt. His latest work has moved out of traditional theater spaces and into museums, galleries, and even the outdoors, embracing various genres, including installation, performance, and sonic environment.

Now, for an unprecedented three months, the Forsythe Company's home will be the open, spacious galleries of Munich's museum of modern and contemporary art. To plan an exhibition that unfolds over time in four installments is to depart from the usual curatorial method: Forsythe's show will also flip the usual performance paradigm--where the audience is fixed and the dance is evanescent--on its head. Here, dances are envisioned as installations, and the viewers will be doing the moving, in some cases effecting the performance.

To kick things off on April 22, the Forsythe Company will perform You Made Me a Monster, 2005, a trio that involves making a skeleton out of a tangled pile of bones. Following the performance, an installation version of the work incorporating film and video will occupy the first of the three immense spaces (each sixty-five square feet) set aside for Forsythe. The next phase of the project begins with Scattered Crowd, 2002, a Forsythe installation involving a soundscape and four thousand white balloons, with which viewers can interact at will. Then comes what Schwenk calls "a link" between the presentations: City of Abstracts, 2000, a project that is even more interactive. The site- and indeed audience-specific concept piece will, for this iteration, transpire on a staircase between the galleries, capturing museumgoers on camera and simultaneously transmitting their images to a nearby monitor, thus transforming them into the very art they are observing. For the final installment, a skylit gallery will be the theater for Clouds After Cranach, 2005, Forsythe's most recent work, recalling (if in name only) his collaboration last year with Spencer Finch, Three Atmospheric Studies [see Artforum April 2005]. Again, the curator expects that the choreographer will use "the whole space as the stage."

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One can imagine that choreography--the most visual of the performing arts--will transform the museum, with each taking on some of the attributes of the other. "Choreography is absolutely adaptive to museum space," says Schwenk, who is planning adaptations of his own, including a novel catalogue. "Something equivalent to performance," he promises. "It shouldn't look too static." Synergy, it seems, is the new destiny, and Munich the destination.--Nancy Dalva

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NEW YORK

Edvard Munch

MUSEUM OF MODERN ART

February 19-May 8

Curated by Kynaston McShine

Although his best-known painting, The Scream, 1893, may be lost forever, Edvard Munch remains one of Scandinavia's greatest cultural exports, right up there with ABBA, IKEA, and H & M. Monographs and critical studies on the artist continue to proliferate, and now MOMA is hosting a retrospective of Munch's work--surprisingly, the first exhibition in the US to be devoted to the Norwegian painter in almost three decades. The show features some ninety paintings and fifty prints and drawings, and surveys the artist's corpus in its entirety, from 1880 to 1944. The catalogue includes essays by McShine and Munch scholars Patricia Berman, Reinhold Heller, Elizabeth Prelinger, and Tina Yarborough and provides detailed documentation of Munch's works and career.--David Rimanelli

David Smith

SOLOMON R. GUGGENHEIM MUSEUM

February 3-May 14

Curated by Carmen Gimenez

In 1966, less than a year after David Smith's death, Clement Greenberg reflected on the artist on whom he had pinned his hopes for the "new sculpture": "His oeuvre, in all its unevenness and sprawl, in all its bewildering diversity, somehow remains open, unfinished." With 122 sculptures--from the wiry welded constructions of the '30s through the later volumetric totems--this exhibition commemorating the centenary of Smith's birth should mirror that "bewildering diversity." Dozens of drawings and the artist's notebooks, which suggest their maker's thematic and intellectual sympathies, round out the selection. Curated by the Guggenheim's Carmen Gimenez, the show is accompanied by a mammoth scholarly catalogue nearly as heavy as one of Smith's sculptures. Travels to the Centre Pompidou, Paris, June 14-Sept. 11; Tate Modern, London, Oct. 4, 2006-Jan. 3, 2007.--Lisa Pasquariello

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Snap Judgments: New Positions in Contemporary African Photography

INTERNATIONAL CENTER OF PHOTOGRAPHY

March 10-May 28

Curated by Okwui Enwezor

A successful attempt to comprehend contemporary art practices in Africa must encompass broad geopolitical and cultural diversity. For this sweeping survey, Okwui Enwezor has chosen thirty-five artists from twelve countries on the epic continent, most of whom have never exhibited abroad. The more-than-two-hundred works on view include photographs, videos, installations, and performance documentation, and explore themes familiar to Western discourse: identity (through race, gender, and the body); historic trauma and representation; and political narratives in a postcolonial nation. Revealing far more common ground than visitors may have anticipated, the exhibition promises to reframe our understanding of African photography, making us question what may have been our own snap judgments.--Stephen Frailey

Klee and America

NEUE GALERIE

March 9-May 22

Curated by Josef Helfenstein

Walter Benjamin famously interpreted Klee's Angelus Novus, 1920, as a figure that turns toward the past while history pushes forward. Similarly, "Klee and America" (organized by Josef Helfenstein, director of the Menil Collection) builds on the success of MOMA's 1987 retrospective and the collection-specific "Paul Klee at the Guggenheim Museum" in 1993, while shedding new light on the Swiss painter's legacy in the US. Through more than sixty oil paintings, watercolors, and drawings, as well as documentary material on influential collectors like Alfred Barr and Galka Scheyer, the exhibition focuses on the artist's increasing popularity in America during the late '30s and '40s, after Hitler's campaign against "degenerate" art caused the European market for his work to collapse. Travels to the Phillips Collection, Washington, DC, June 16-Sept. 10; Menil Collection, Houston, Oct. 6, 2006-Jan. 14, 2007.--Kent Minturn

Energy/Experimentation: Black Artists and Abstraction, 1964-1980

STUDIO MUSEUM IN HARLEM

April 5-July 2

Curated by Kellie Jones

Organized by Yale art historian Kellie Jones, this group exhibition joins the politics of race to the practices of avant-garde painting, sculpture, and video in the mid-'60s and '70s. The fifteen artists included--Al Loving, Alma Thomas, and Howardena Pindell among them--pursued vibrantly modernist alternatives to the figuration of the contemporaneous Black Arts Movement. The show's catalogue explores the creative contexts--like Minimalist sculpture and free jazz--that shaped black abstraction and presents a transcription of the museum's cross-generational roundtable (moderated by Jones last June) on abstraction then and now, featuring artists Julie Mehretu and Louis Cameron, their nonobjective predecessors Melvin Edwards and William T. Williams, and Lowery S. Sims (president of the Studio Museum).--Richard Meyer

William Wegman

BROOKLYN MUSEUM

March 10-May 28

Curated by Trevor Fairbrother

Since 1970, William Wegman has marketed himself and his kennel of canine celebrities so well (and so far outside the precincts of contemporary art) that it's hard to formulate a critical take. But here are three attempts: (1) Wegman is a canny critical artist, the most literal (mis) reader of Smithson's site/non-site dialectic yet; (2) he's learned Warhol's "business art" model all too well; (3) he'd be nowhere without the adorable pooches, the most famous in America since Benji. Through more than 260 photographs, drawings, paintings, collages, books, and videos from 1968 to today, this show, organized by the Addison Gallery, may show which description fits. Now go chase the ball. Travels to the Smithsonian American Art Museum, Washington, DC, July 4-Sept. 24; Norton Museum of Art, West Palm Beach, FL, Nov. 4, 2006-Jan. 28, 2007; Addison Gallery of American Art, Andover, MA, Apr. 7-July 31, 2007.--Eric Banks

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BOSTON

David Hockney

MUSEUM OF FINE ARTS

February 26-May 14

Curated by Sarah Howgate and Barbara Stern Shapiro

One cannot trace the history of Pop art without visiting David Hockney's pastel-and-Polaroid-strewn studio. The British-born, Los Angeles-based artist helped pioneer the movement in the '60s, though his work--particularly his portraiture--is imbued with a warm intimacy distinct from the mass-market flash embraced by his Pop peers. Co-organized by London's National Portrait Gallery, this exhibition dives into Hockney's output, through 162 portraits spanning fifty years that show Hockney's relatives, lovers, and celebrity friends in their swimming pools and failing relationships. The eccentric painter himself, blond and bespectacled, appears in a section of self-portraits. Travels to the Los Angeles County Museum of Art, June 11-Sept. 4; National Portrait Gallery, London, Oct. 12, 2006-Jan. 21, 2007.--Christopher Bollen

CAMBRIDGE, MA

Frank Stella 1958

ARTHUR M. SACKLER MUSEUM

February 4-May 7

Curated by Harry Cooper and Megan R. Luke

In 1968, a decade into Stella's groundbreaking career, David Antin could only shake his head: "Frank Stella is also not the Frank Stella everybody thought he was." The search for the real Stella continues with this exhibition, which gathers twenty works (many previously overlooked, even by the catalogue raisonne) from the months in 1958 leading up to the "Black Paintings"--when a freshly graduated Stella shared studio space with Carl Andre, attended lectures by an increasingly optical-minded Clement Greenberg, gawked at the sudden rise of Jasper Johns's "anti-art," and concocted colorful, drooling, often funky paintings that both prepared for and violate the uniformity and order of the logolike canvases to come. Travels to the Menil Collection, Houston, May 25-Aug. 20; Wexner Center for the Arts, Columbus, OH, Sept. 9-Dec. 31.--Lane Relyea

PHILADELPHIA

Gone Formalism

INSTITUTE OF CONTEMPORARY ART

January 21-March 26

Curated by Jenelle Porter

Can't we call it something else? "Formalism" may be a lost cause, with its connoted rejection of anything personal, social, imagined, or weird. Yet relations between front and back, inside and outside, material fact and illusion, structure and image continue to compel many of the best artists working today. Porter, in her first show for the ICA, tackles the way formalism still resonates by focusing on six artists: Charles Long, Evan Holloway, Mark Grotjahn, Liz Larner, Jessica Jackson Hutchins, and Gitte Schafer. Her selection of thirty sculptures, paintings, drawings, and installations by these practitioners hints at the possibilities of infusing the optical raptures of formalisms past with humor and brains. These "formalists" seem more the children of Tuttle and Hammons than of Olitski and Frankenthaler.--Katy Siegel

Make Your Own Life: Artists In & Out of Cologne

INSTITUTE OF CONTEMPORARY ART

April 21-July 31

Curated by Bennett Simpson

The "Cologne effect" of the '80s may have had less to do with artistic innovation than with marketing, packaging, and attitude, but its result was spectacular: The modest-size city on the Rhine emerged not only as the art capital of West Germany but as the most important center for contemporary art outside New York. "Make Your Own Life" maps the mythical surroundings of the late Martin Kippenberger and his excessive friends, many still based in the city. Positioning art production in a broader cultural context, the show presents nearly forty paintings, sculptures, installations, photographs, and videos alongside less-exhibited projects (records, publications, posters, and invitation cards). Among the thirty-odd artists included are Kai Althoff, Cosima von Bonin, and Michael Krebber, as well as Americans like Mike Kelley and Cady Noland.--Daniel Birnbaum

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Artur Barrio

GALLERIES AT MOORE

February 8-March 19

Curated by Brian Wallace

In 1970, during one of the most violent periods of Brazil's military dictatorship, Artur Barrio left plastic bags filled with meat, bones, excrement, and garbage on the streets of Rio de Janeiro, while an accomplice photographed passersby, capturing their curious, repulsed, and horrified reactions. For Barrio's first solo exhibition in North America, curator Brian Wallace offers an unprecedented opportunity to view these and other photographs alongside some seventy objects, drawings, notebooks, and documentary material from the late '60s to the present, including a new project that incorporates elements (coffee grounds, lightbulbs, wall writings) from Barrio's Documenta11 installation. The show is accompanied by a symposium featuring the artist and international curators like Carlos Basualdo and Cristina Freire, as well as a catalogue with new translations of Barrio's writings.--Irene Small

WASHINGTON, DC

Cezanne in Provence

NATIONAL GALLERY OF ART

January 29-May 7

Curated by Philip Conisbee and Denis Coutagne

In 1990 Griselda Pollock asked, "What can we say about Cezanne these days?" Now, on the centenary of the canonical artist's death, "Cezanne in Provence" should give us plenty to talk about. Organized by Philip Conisbee of the National Gallery and Denis Coutagne of the Musee Granet, this exhibition comprises 118 oil paintings, watercolors, and lithographs made by the artist in his native Provence, including depictions of the Mediterranean coast at L'Estaque, Mont Sainte-Victoire, and the Chateau Noir. The show is a major component of the French region's "Cezanne 2006" tribute, which involves the reopening of the Musee Granet (closed for renovation since 2003) and the opening of several key sites in Cezanne's life, like his family home in Aix-en-Provence and his work cottage in the Bibemus quarry. Travels to the Musee Granet, Aix-en-Provence, June 9-Sept. 17.--Suzanne Hudson

MIAMI

Vik Muniz

MIAMI ART MUSEUM

February 10-May 28

Curated by Peter Boswell

The largest survey to date of Vik Muniz's work will perforce showcase the artist's wide range of materials, from chocolate syrup to hole-punch confetti. Using these unlikely items, Muniz makes perceptual jokes ("clouds" drawn by planes) and reconstructs images appropriated from various sources (LIFE magazine, Renaissance art). He then photographs the results, exhibiting the pictures rather than the elaborate creations themselves. Like his Neo-concrete predecessors, Muniz makes works that are both playful and socially aware, as in "Sugar Children," 1996, his series depicting the children of exploited plantation workers--in sugar. This show comprises 109 photographs, a sky-drawing, and a book of new writings by the artist. Travels to the University of South Florida Contemporary Art Museum, Tampa, June 30-Oct. 8; Seattle Art Museum, Nov. 10, 2006-Jan. 14, 2007; and other venues.--Frances Richard

Malcolm Morley

MUSEUM OF CONTEMPORARY ART

January 20-April 16

Curated by Bonnie Clearwater

Malcolm Morley stands among the preeminent living American painters, but the historical scope of his work is too little known in the US, his adopted country since 1958. This survey of forty paintings from the mid-'60s to the present is long overdue; it is, in fact, the artist's first in the US since 1983, when he was recast as a neo-expressionist (having first been pigeonholed as a Superrealist). Now, the grandeur of his work puts it far beyond mere labels: "Only when Morley's work is taken out of the movement of Photorealism do his interests come into focus," maintains Clearwater. The show, which includes recent paintings, such as those of model-plane kits and current events in Afghanistan (most never before shown in the States), should reveal an oeuvre marked by radical switches but also by a deep inner consistency.--Brooks Adams

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HOUSTON

Eva Hesse

MENIL COLLECTION

February 3-April 23

Curated by Catherine de Zegher and Elisabeth Sussman

Eva Hesse spent much of her decade-long career engaged in drawing--at times even in her sculpture. Perhaps more than any artist of her generation (with the possible exceptions of Fred Sandback and Richard Tuttle), she brought qualities of line off the page into her work in three dimensions. Following Hesse's landmark multimedia retrospective in 2002, this exhibition, co-organized by the Drawing Center and the Menil Collection, brings drawing to the fore with a survey of one hundred "finished" works on paper, supplemented by a selection of Hesse's 1965 reliefs, a small group of sculptural works, and rarely seen notebooks and diaries. Travels to the Drawing Center, New York, May 6-July 15; Museum of Contemporary Art, Los Angeles, Aug. 6-Oct. 23.--Scott Rothkopf

SAN FRANCISCO

Todd Eberle

SAN FRANCISCO MUSEUM OF MODERN ART

December 16, 2005-March 7, 2006

Curated by Ruth Keffer and Joseph Rosa

Todd Eberle is best known for his architectural photographs in stylish magazines like Vanity Fair, W, and Domus, but his new series of large-format images distills the contemporary architectural venture to found geometries and grids. Locating the modernist schematic in the patterns of ceilings, grills, tiles, and other architectural surfaces, these photographs reference much of the history of geometric abstraction, from De Stijl to Stephen Westfall, yet ultimately remain photographic: luminous, airy, and somewhat ethereal. The thirteen prints on view--of such iconic structures as Gordon Bunshaft's Lever House and Frank Lloyd Wright's Unity Temple and Johnson Wax Building--also underscore the difficulty of achieving authentic abstraction in photography, a medium so tied to representation. Travels to the Art Institute of Chicago, Spring 2006.--Stephen Frailey

LOS ANGELES

Lorna Simpson

MUSEUM OF CONTEMPORARY ART

April 16-July 10

Curated by Helaine Posner

While working alongside the Pictures artists, Lorna Simpson pioneered a practice that applied Conceptual strategies to visual considerations of race and gender, earning her a place among the most influential artists to come out of the '80s. Now--two decades and countless exhibitions later--she is truly a force to be reckoned with. For the artist's first mid-career survey, American Federation of Arts curator Helaine Posner has gathered forty-six works--a healthy selection of early image-and-text pieces, seven major photographs on felt, six film installations, and a smattering of recent photographs. An all-star catalogue complements the show, with essays by Okwui Enwezor and Hilton Als and a conversation between the artist, Thelma Golden, and Isaac Julien. Travels to the Miami Art Museum, Oct. 13, 2006-Jan. 21, 2007; Whitney Museum of American Art, New York, Feb. 8-May 6, 2007; and other venues.--Frances Richard

The Societe Anonyme: Modernism for America

UCLA HAMMER MUSEUM

April 23-August 20

Curated by Susan Greenberg and Jennifer R, Gross

Founded in 1920 on East 47th Street in New York by Katherine S. Dreier, Marcel Duchamp, and Man Ray, the Societe Anonyme amassed one of the most impressive collections of modern art in the U.S. Created to educate the public about modern art and to support emerging artists, the "experimental museum"'s acquisition program and reference library existed at a time when no institution in America was collecting or supporting contemporary work. This show features some two hundred pieces from the collection (housed since 1941 at the Yale University Art Gallery, which organized the show) by Arthur Dove, Ernst, Kandinsky, Leger, Picasso, Schwitters, and more. Travels to the Phillips Collection, Washington, DC, Oct. 14, 2006-Jan. 21, 2007; Dallas Museum of Art, June 10-Sept. 16, 2007; and other venues.--Amra Brooks

LOS ANGELES

Courbet and the Modern Landscape

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J. PAUL GETTY MUSEUM

February 21-May 14

Curated by Charlotte Eyerman and Mary Morton

Major museum exhibitions of Courbet are rare in the US (the last one was at the Brooklyn Museum almost twenty years ago). And when they do occur, they tend to be large and unwieldy, as if to make up for their infrequency. We should therefore applaud the Getty for its less-is-more approach: About forty landscapes centered around the crucial decade of the 1860s--many rarely seen together and a handful never before exhibited in the US--should focus attention on Courbet's disturbing and at times erotic brand of naturalism, the kind of work that so impressed later generations of modernist painters. One regrets that LACMA's Cezanne and Pissarro show closes before Courbet comes to town. Travels to the Museum of Fine Arts, Houston, June 18-Sept. 10; Walters Art Museum, Baltimore, Oct. 15, 2006-Jan. 7, 2007.--Paul Galvez

LONDON

Tropicalia: A Revolution in Brazilian Culture

BARBICAN ART GALLERY

February 15-May 21

Curated by Carlos Basualdo

"Tropicalia," the poet Torquato Neto wrote, "is whatever is necessary." We should get a sense of just how exhilarating "whatever" can be in this exhibition, which presents some 250 works produced during the influential Brazilian cultural movement of the late '60s. These are shown alongside contemporary responses by Marepe, Karin Schneider, and nine others. Highlights include Helio Oiticica's seminal environment Eden, 1969, and television footage from 1968 of Os Mutantes singing in plastic suits. Accompanied by a catalogue containing an anthology of period texts, the show, co-organized by the MCA Chicago and the Bronx Museum, argues that being slippery can also be extremely smart. Travels to Centro Cultural de Belem, Lisbon, July-Sept.; Bronx Museum of the Arts, New York, Oct. 14, 2006-Jan. 28, 2007; and other venues.--Irene Small

Martin Kippenberger

TATE MODERN

February 8-May 7

Curated by Doris Krystof and Jessica Morgan

Martin's back! The massive Tate Modern is making room for the colossal Martin Kippenberger in a retrospective of more than two hundred works. Touchingly, The Happy End of Franz Kafka's "Amerika", 1994, provides the show's center of gravity; Kafka's epic, like Kippenberger's retrospective, appeared posthumously. Although getting a grip on the artist's dizzying productivity can be like trying to grasp escaping butane, retrospectives decelerate the blur of life, making an oeuvre more legible. You even feel Kippenberger's breath in the catalogue essay his sister Susanne has written on, among other things, the playhouse the young artist called Martinsklause. Now, Tate Modern is Martinsklause II. Travels to K21 Kimstsammlung Nordrhein-Westfalen, Dusseldorf, June 10-Sept. 16.--Ronald Jones

Gothic Nightmares: Fuseli, Blake and the Romantic Imagination

TATE BRITAIN

February 15-May 1

Curated by Martin Myrone

This show promises to be an educational Halloween party. With 160 works, it explores the demons, witches, and elves imagined by two dozen high-minded British visionaries and considers such popular entertainments as the "Phantasmagoria," which offered nineteenth-century Londoners a preview of the modern horror film, complete with grisly slide shows and creepy sounds. This rich territory was a core ingredient in the Romantic imagination, which, from the 1760s on, expanded into an ever-more irrational world. Here, the focus is on the odd couple of Swiss-born Henry Fuseli, with his crowd-pleasing Nightmare, 1781, and William Blake, whose depictions of monsters and phantoms were inspired by the loftiest pages of the Bible and Dante.--Robert Rosenblum

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LONDON

Ugo Rondinone

WHITECHAPEL ART GALLERY

January 24-March 26

Curated by David Thorp

Notorious for his extended sequence of abstract "target" paintings and for a questionable predeliction for circus clowns, "multidisciplinary romantic" Ugo Rondinone generates dreamlike juxtapositions of the prosaic and the improbable that critic Elizabeth Janus has aptly dubbed "parallel realities." For his first major exhibition in the UK, the Swiss artist has produced two atmospheric environments comprising a total of twenty-four recent paintings and sculptures, nine of which are new. Moodily gothic in tone, the larger of the two installations is laid out around a vast labyrinth of reflective black Perspex and accompanied by an audio recording of a repetitive dialogue about an impending breakup. Alison Gingeras, Gilda Williams, and independent curator David Thorp contribute essays to the catalogue.--Michael Wilson

Modernism: Designing a New World, 1914-1939

VICTORIA AND ALBERT MUSEUM

April 6-July 23

Curated by Christopher Wilk

For some die-hards, Modernism with a capital M may still be a religion of absolute truth and beauty, but for the rest of us (especially antique dealers) it's become as much a period style as Second Empire or Art Nouveau. Fraught with the historical nostalgia of a long-lost utopian dream, the movement can now seem as quaint and precious as Bakelite and glass brick, which means it's high time for an all-embracing retrospective. This one not only extends as far afield as Japan, Brazil, and Israel but mixes the exalted heights of Mondrian and Mies van der Rohe with 350 more-earthbound examples of graphic design, furniture, photography, painting, film, and costume. In short, it is a poignant time capsule of the myth of progress forever destroyed by World War II. Travels to MARTa Herford, Germany, Sept. 16, 2006-Jan. 7, 2007.--Robert Rosenblum

LIVERPOOL

Making History: Art and Documentary in Britain from 1929 to Now

TATE LIVERPOOL

February 3-April 23

Curated by Tanya Barson

The Tate machine turns itself in stately fashion to confront the prevailing winds; With this chronological survey, it makes a major attempt to historicize current documentary trends. Tate Liverpool's Tanya Barson seeks to establish a continuum between fifty British practitioners, including such disparate figures as John Grierson, Lucian Freud, Gilbert & George, the Berwick Street Film Collective, and Jeremy Deller. The exhibition's broad sweep--it comprises roughly 250 films, television programs, and photographs as well as paintings, works of literature, and other media--is fortified by a catalogue with essays by David Campany, Lynda Morris, and Mark Nash.--Mike Sperlinger

BIRMINGHAM

Roy Arden

IKON GALLERY

February 1-March 19

Curated by Nigel Prince

Roy Arden's midcareer survey features the three major phases of his work to date: the '80s archival photographs documenting the social history of his native British Columbia; the "landscape of the economy" color photographs of the early '90s that explore the mix of old and new in his local surroundings; and his more recent images of the "urban rustic"--such mundane subjects as weeds, gutters, street corners, and wildflowers. Throughout, Arden's photography rejects the exotic and the spectacular as it tracks modernity in the everyday and the global in the local. In this show, some thirty prints are complemented by three videos, two of which are new--one, a gritty archaeology of the search for treasure in the back alleys of Arden's Vancouver, the other a transcendent manipulation of found footage of a sports riot.--Alex Alberro

DUBLIN

Howard Hodgkin

IRISH MUSEUM OF MODERN ART

February 22-May 7

Curated by Enrique Juncosa and Nicholas Serota

Howard Hodgkin once called a painting After Vuillard; the title sums up much of what some admire about his work as well as what leaves others so indifferent: the echoes of Ecole de Paris intimism and an Epicurean redeployment of stylistic features abstracted not just from Vuillard but also from Bonnard and Matisse. Yet he offers more than an exquisite rehash: Hodgkin takes crazy chances with color, laying it down with such an unlikely mix of subtlety and bravura that he's never boring. This survey, comprising some sixty works from 1960 through today, is accompanied by the anthology Writers on Howard Hodgkin; these literati may not know much about art, so look avidly but read with a dash of salt. Travels to Tate Britain, London, June 15-Sept. 17; Museo Nacional Centro de Arte Reina Sofia, Madrid, Oct. 18, 2006-Jan. 8, 2007.--Barry Schwabsky

PARIS

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Pierre Huyghe

MUSEE D'ART MODERNE DE LA VILLE DE PARIS

February 2-April 23

Curated by Laurence Bosse, Julia Garimorth, and Hans-Ulrich Obrist

After visiting the Antarctic Circle last year, Parisian hometown-boy-made-good Pierre Huyghe explores a terra incognita closer at hand: the "virgin" territory of the Musee d'Art Moderne de la Ville de Paris's newly refurbished exhibition space. To celebrate its reopening after a two-year renovation, the museum presents five projects from Huyghe, whose last significant outing there was a 1998 group exhibition with Dominique Gonzalez-Foerster and Philippe Parreno. The Antarctic voyage, along with its orchestral pendant filmed last fall in New York's Central Park, provides the basis for ambitious new installations, which are presented alongside a film of the Le Corbusier-inspired puppet musical commissioned by Harvard's Fogg Art Museum in 2004. Travels to Tate Modern, London, July 5-Sept. 24.--Margaret Sundell

Jean-Luc Godard

CENTRE POMPIDOU

April 26-August 14

Curated by Dominique Paini

How best to approach your own institutionalization when you've previously skewered no less a figure than Mick Jagger as a tool of the entertainment industry--the countercultural equivalent of a toothpaste salesman? Jean-Luc Godard rolls the dice in organizing his own career retrospective by moving beyond the museum's usual theater-bound, film-program format reserved for celluloid luminaries to design nine galleries, each devoted to a single theme (unannounced at press time). The French auteur, who turned seventy-five last year, has made seven new short films for the occasion to boot. A suitably risky crowning event for the director whose 1967 movie Weekend declared itself "a film found on a scrapheap."--Tim Griffin

Juergen Teller

FONDATION CARTIER POUR L'ART CONTEMPORAIN

March 4-May 21

Curated by Herve Chandes and Leanne Sacramone

To fashion consumptives, Juergen Teller is best known for his Marc Jacobs-inspired collaborations with the likes of Cindy Sherman and Charlotte Rampling. And while Teller is not alone in raising the stakes in the conceptual project of disguising art as commerce, his ability to create images whose brutality, tenderness, humor, and seriousness endure regardless of context signals a unique and singular vision. His first major show in France comprises some eighty photographs. Expect to find iconic images of Yves Saint Laurent and Kate Moss alongside prints of weeds poking out of Albert Speer's Nuremberg ruins. Whether advertising handbags or the bloat of hubris, Teller's work charts a moral and conceptual decadence redeemed by searing honesty and impolite beauty.--Neville Wakefield

NIMES

Markus Raetz

CARRE D'ART, MUSEE D'ART CONTEMPORAIN

February 1-May 7

Curated by Francoise Cohen

Swiss artist Markus Raetz has spent the past forty years exploring the essence of seeing. With subtle materials (twigs, leaves, mirrors, and wisps of metal) and a lightness of touch, Raetz creates anamorphic objects and images that play with perception, making his viewers question what they see and how they look at the world. This retrospective of nearly two hundred works includes sculptures but highlights Raetz's delicate works on paper (drawings, sketches, prints, watercolors, and notebooks), borrowed from public and private collections as well as from the artist's studio. Curated by director Francoise Cohen, the exhibition is accompanied by a catalogue with an essay by Sorbonne art history professor Gilbert Lascault.--Elizabeth Janus

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MADRID

Inner Worlds Outside

FUNDACION "LA CAIXA"

January 26-April 2

Curated by Monica Kinley and Jon Thompson

Jean Dubuffet's coinage "art brut" has an antiquated ring, and "outsider art" was a suspect term even before the oeuvre of Chicago janitor and Vivian Girls visionary Henry Darger became a posthumous blockbuster. Eschewing either designation, curators Thompson and Kinley (the latter is director of the Musgrave Kinley Outsider Art Collection) organize their selection of 150 works thematically rather than according to the backgrounds of the artists, Dream-weavers Ensor, Guston, Klee, and Pollock share space with Darger, Michael the Cartographer, farm laborer J. B. Murray, and others under such rubrics as "Imaginary Landscapes," "Fantastic Cities," "Impossible Architecture," "Desire and the Erotic Body," and "Physiognomic Hauntings." Travels to the Whitechapel Art Gallery, London, Apr. 26-July 2; Irish Museum of Modern Art, Dublin, July 25-Oct. 1.--Frances Richard

MILAN

Tom Sachs

FONDAZIONE PRADA

April 6-June 15

Curated by Germano Celant

Mock-machismo American Tom Sachs is about to hit Europe with a double-barrel survey. The first assault, curated by Gunnar B. Kvaran, Grete Arbu, and Hanne Beate for Oslo's Astrup Fearnley Museum of Modern Art, launches mid-January with a broad selection of incendiary objects parodically misappropriating high- and low-class power signs (think Chanel value meal and Prada toilet). The second offensive, at the Fondazione Prada, features the artist's more megalomaniacal constructions, including a nitrouspowered police car and new works like a one-to-seven scale model of an aircraft carrier control tower and a full-size replica of the blue whale that hangs in New York's American Museum of Natural History. An inveterate iconoclast with a Monacelli monograph in the works, Sachs has developed a brand power that looks set to outstrip his quarry's.--Jeff Gibson

CODROIPO, ITALY

Infinite Painting: Contemporary Painting and Global Realism

VILLA MANIN CENTRO D'ARTE CONTEMPORANEA

April 9-September 24

Curated by Francesco Bonami and Sarah Cosulich Canarutto

Despite well-rehearsed claims for its autoextinction, painting remains as ubiquitous as the shows and discourses attending to it. This exhibition traces the "pictorial" not only through abstract and figurative painting but also through sculpture, video, and photography, engaging the question of medium from a perspective of collective expansion. The roughly eighty works on view span the past two decades, which the curators have dubbed the age of "Global Realism" to describe how the "real" is influenced by globalization. Less about essentialist ontology than about cross-connected networks, painting here becomes a game of six degrees of separation. Or, as Bonami puts it, it's an "exhibition about painting, but not just another painting exhibition."--Suzanne Hudson

GENEVA

Steven Parrino

MUSEE D'ART MODERNE ET CONTEMPORAIN

February 21-May 14

Curated by Fabrice Stroun

For Steven Parrino, the making of art in New York was--like life in the city itself--an unremitting, unsentimental negotiation between production and destruction. Takmg as many cues from Warhol as he did from experimental music, this post-painter wrenched canvases off their stretchers, twisting them into glossy vortexes, and pummeled smooth Sheetrock panels with a sledgehammer. What's most American in Parrino's work are its automatic procedures, its blackouts, and its conceptual relationship with B-horror movies, underground comics, and noise. This retrospective includes more than two hundred works, ranging from paintings, drawings, and photographs that date from the artist's student years and his involvement with the Nature Morte gallery in the East Village to the collaborative film and music projects that preceded his fatal motorcycle accident in 2005.--John Kelsey

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ZURICH

Marc Camille Chaimowicz

MIGROS MUSEUM FUR GEGENWARTSKUNST

April 8-June 18

Curated by Heike Munder

The late, lamented art critic Stuart Morgan gave the following instructions for the proper reception of the work of Marc Camille Chaimowicz: "Unlearn 'art.' Unlearn 'artwork.' Unlearn 'closure.' Unlearn 'public' and 'private.' Finally unlearn 'man.'" Well, that could take a while. But the fact that this survey follows hard on the heels of another this past autumn in Dusseldorf suggests that the French-born, London-based Chaimowicz, whose performances and installations drew international acclaim in the '70s but whose career went a bit quiet in the '90s, is coming back into focus. At the Migros, fourteen works--installations, print and painting suites, and sculptures--from the past thirty-four years sample an oeuvre that combines the quotidian and the exquisite, the decorative and the political, the critical and the sentimental in ways to which we're unaccustomed.--Barry Schwabsky

VIENNA

Cinema Like Never Before

GENERALI FOUNDATION

January 20-April 24

Curated by Antje Ehmann and Harun Farocki

Citing inspiration from Giuseppe Perella and Michele Mancini's conceptual groupings of bodies and places in their 1981 study of the films of Pasolini, Ehmann and Farocki offer a complex collaborative discourse between film images in an exhibition built around their own and others' work. Rather than recuperate film-historical forces for the museum, they propose exploded systemic and thematic views of those forces at work in a variety of media. The eleven artists featured range from the unjustly neglected Klaus Wyborni to the better-known Gustav Deutsch and younger practitioners like Astrid Kuver. It's no surprise that Farocki, whose work has often critiqued institutions through preexisting images, should arrive at the insight that curating involves parallel archaeological practices.--Keith Sanborn.

BERLIN

4th Berlin Biennale for Contemporary Art

VARIOUS VENUES

March 25-May 28

Curated by the Maurizio Cattelan, Massimiliano Gioni, and Ali Subotnick

It's tough explaining just what exactly the Wrong Gallery is (Cattelan, Gioni, and Subotnick started it in a shallow doorway in New York), much less how it's curating the 4th Berlin Biennale, inexplicably titled "Of Mice and Men." Several months prior to the biennale's opening, the Wrong Gallery made its presence strongly felt with Gagosian Gallery, Berlin: In typically cheeky fashion, the miscreant curators appropriated the international behemoth's name and logotype for an impostor gallery of their own. Add to that the magazines Zitty, in which they interview Berlin-based artists, and Checkpoint Charley, which includes research materials on some seven hundred practitioners. The show itself features only sixty artists and will unravel both in museums and along a street in Berlin's historic Mitte district.--David Rimanelli

DUSSELDORF

Zero

MUSEUM KUNST PALAST

April 9-July 9

Curated by Lorand Hegyi, Jean-Hubert Martin, Heike van den Valentyn, and Mattijs Visser

Time again to revisit Group Zero? The concerns of this midcentury minimovement, which caught the current of early '60s European investigations into "environments" and kineticism, seem to come under scrutiny every few years, but this exhibition promises something more than the usual retread of Heinz Mack, Otto Piene, and Gunther Uecker. Instead, "Zero" looks at their influences (with some three hundred works by nearly fifty artists, from members of Gutai to Pol Bury, Hans Haacke, Daniel Spoerri, and, of course, Yves Klein) and organizes the works largely according to theme (light, vibration, etc.). Whether the survey will conclusively define Group Zero remains to be seen, but it should at least contextualize its neo-Dada work. Travels to the Musee d'Art Moderne, Saint-Etienne, Sept. 15, 2006-Jan, 15, 2007.--Eric Banks

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Museums in the 21st Century: Concepts, Projects, Buildings

K20 KUNSTSAMMLUNG NORDRHEIN-WESTFALEN

March 31-June 25

Curated by Christine Gisi

Some indication of the scale of the recent museum-construction spree may be gleaned from the fact that, for the second time in six years, the Art Centre Basel, an organizer of international traveling exhibitions, has mounted a showcase of contemporary museum design. Among the twenty-six projects documented in drawings, models, photographs, videos, and computer animation are Tadao Ando's subterranean Chichu Art Museum in Naoshima, Japan, and the redevelopment of Berlin's Museum Island. What are we going to put in all these new museums? As this show suggests, perhaps the museums themselves. Travels to Museo Nazionale delle Arti del XXI Secolo, Rome, Sept. 21-Oct. 29; Lentos Kunstmuseum Linz, Austria, Nov. 23, 2006-Feb. 19, 2007; and other venues.--Kevin Pratt

MUNICH

ClickDoubleClick: The Documentary Factor

HAUS DER KUNST

February 8-April 23

Curated by Thomas Weski

Throughout its history, the practice of documentary photography has implied a rigorous responsibility to truth--an illusive ideal that has grown increasingly problematic in the digital age. This exhibition examines the influence of digital manipulation on the documentary tradition and how technology has weakened the medium's integrity and authenticity. Although sympathetic to the documentary ideal, the roughly 150 images on view, by Taryn Simon, Larry Sultan, Jeff Wall, Luc Delahaye, and nineteen others, operate between fact and fiction. At its core, the show emphasizes photography based on the artist's interpretation rather than fact, undermining the credibility of the objective witness. Travels to the Centre for Fine Arts, Brussels, June 26-Sept. 3.--Stephen Frailey

HAMBURG

Jonathan Meese

DEICHTORHALLEN HAMBURG

April 28-September 3

Curated by Robert Fleck

Ultimate myth-o-man, post-Beuysian neo-shaman, excessive ritualist--the possibilities for describing Jonathan Meese abound, perhaps not surprisingly, as his art is also of and about abundance. Seeking the thrills of the too-much, this painter, installation artist, and performer fought his horror vacui in recent shows in Frankfurt and Copenhagen by expanding his list of heavyweight obsessions (Kubrick and Kinski, Wagner and Balthus). He's also added the Hitler salutation to his gestural repertoire and set design to his portfolio. The roughly two hundred objects here, made by the artist and collaborators Daniel Richter, Raymond Pettibon, Jorg Immendorff, and Albert Oehlen, revolve around a Meese-designed set for the adaptation of Pitigrilli's Weimar-era novel Kokain, to be performed on-site.--Tom Holert

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BADEN-BADEN

Thomas Schutte

STAATLICHE KUNSTHALLE BADEN-BADEN

March 10-April 30

Curated by Matthias Winzen

This retrospective of 250 works on paper by Thomas Schutte offers a rare opportunity to examine the thought process behind his characteristically deliberate sculptural work of the past three decades. Documenting passing ideas and formal conundrums, these drawings attest to the development of radically different bodies of work, including watercolor series, diaristic sketches, portraits and self-portraits, and to early struggles with the two-dimensional representation of space arising from Schutte's work with stage design and architectural models. The catalogue, with essays by Winzen, Barbara Wagner, and Melitta Kliege and texts by the artist, is complemented by an online catalogue raisonne of the works on paper. Travels to the De Pont Foundation, Tilburg, May 20-Sept. 10: Neues Museum, Nuremberg, Oct. 20, 2006-Jan. 21, 2007.--Bettina Funcke

BIELEFELD, GERMANY

Louise Bourgeois

KUNSTHALLE BIELEFELD

March 12-June 5

Curated by Thomas Kellein

Louise Bourgeois has spent the better part of a century riffing off a cast of characters she's mostly outlived; her family. Space, memory, and the body are incorporated in her notion of family romance and summed up in the term "femme maison," the housed or trapped body. Bourgeois's initial "Femme Maison," a series of drawings fusing architecture and the female figure, appeared in the mid-' 40s, and since then she has successfully straddled time periods and absorbed everything from Freudian Surrealism to process art and feminism. Included in this 120-work retrospective are fifteen paintings from 1936 to 1945 that have never been shown, as well as Fillette (Sweeter Version), 1968/1999, a latex-covered phallus based on the original Fillette, and the famous Destruction of the Father, 1974, a spore-covered altar she created a year after her husband's death.--Martha Schwendener

COPENHAGEN

Georg Baselitz

LOUISIANA MUSEUM OF MODERN ART

February 10-June 11

Curated by Helle Crenzien and Poul Erik Tojner

For more than forty years, Georg Baselitz's work has served as a screen on which the art world has projected its feelings about figurative painting. In the '60s, his moody, expressionistic canvases exploded the unspoken consensus in his native Germany that representational painting had been forever polluted by fascism. In the '80s, however, Baselitz was derided by many critics for insufficiently problematizing his neo-expressionistic practice. But in today's climate of painterly promiscuity, his complex oeuvre seems ripe for reassessment. This exhibition, which features some 110 paintings and works on paper from four decades, provides ample occasion to see the span of the artist's career and perhaps even to learn something about this moment's attitudes toward painting, too.--Jordan Kantor

WARSAW

High Tide: New Currents in Art from Australia and New Zealand

ZACHETA NATIONAL GALLERY OF ART

February 17-April 9

Curated by Magda Kardasz and Simon Rees

"High Tide" deposits the work of thirty-six Australian and New Zealand artists on the very distant shores of Warsaw and Vilnius. Organized by the Zacheta's Magda Kardasz and expat New Zealander Simon Rees (now curator at the Contemporary Art Centre, Vilnius), this binational survey features an even spread of early- to midcareer artists mining three thematic categories: indigeneity and local mythology, suburbanism (the human hatchery is a recurrent concern in art from the region), and a placeless internationalism. No longer far-flung colonial subjects--though the legacy lives on--these Western, South Pacific islanders will greet their Eastern European hosts as rising compatriots in art's now-rhizomatic community. Travels to the Contemporary Art Centre, Vilnius, June 2-Aug. 13.--Jeff Gibson