Three times a year Artforum looks ahead to the coming season. The following survey previews 50 shows opening around the world between May and August.

"Cindy Sherman: Retrospective"

JEU DE PAUME, PARIS

May 16-September 3

Curated by Veronique Dabin and Regis Durand

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In 1976, the first "Untitled Film Still" was still a year away, and Cindy Sherman was perhaps best known--to the extent that she was known at all--as the Buffalo, New York-based artist who sported funny getups for parties at Hallwalls, the exhibition space she cofounded with Robert Longo, Nancy Dwyer, and other students in late 1974. But Sherman had in fact already produced a substantial, if small, body of work that included such pieces as a short Super-8 film of a young woman qua paper doll (donning--you guessed it--paper-doll clothes); thirty-four individual portraits of a disparate group of bus riders; and a photographed roll call of actors playing cliched parts in a low-budget whodunit. It almost goes without saying that the cast and crew for each of these works consisted solely of the artist herself.

In the ensuing thirty years, Sherman has continued to mine the possibilities of occupying both sides of the camera, all the while upping the ante on the characters she crafts. The enormous influence she has exerted extends beyond her fellow artists to critical circles as well. The seventy black-and-white "Untitled Film Stills," 1977-80, for example, have consistently been enlisted in theoretical discussions concerning subject formation, feminism, and postmodern representation, while her later color series (including the mid-'80s "disasters/fairy tales," early '90s "sex pictures," and mid-'90s "surrealist pictures") have been plotted as part of a discursive field whose terms include the "abject," the "traumatic," and the "real."

Since Sherman's oeuvre has proven such a magnet for the poststructuralist ideas that migrated from France to America during the '70s and '80s, it is perhaps fitting that her largest retrospective to date should premiere at a French institution (surprisingly, this is Sherman's first substantial show in Paris). But this exhibition of more than 250 works will no doubt make plain that no single theoretical approach can provide a definitive account of her shape-shifting practice. Complicating the matter further, questions about intention have consistently lurked around Sherman, who in her photographs undeniably addresses ethical and political questions yet inevitably stays behind the mask. As she once provocatively stated, "Maybe the work doesn't mean anything."

Co-organized by the Jeu de Paume and the Kunsthaus Bregenz, the exhibition offers a generous selection of work produced in the last ten years--from series such as "broken dolls" (Sherman's brief return, in 1999, to black-and-white) and "clowns," 2003-2004 (in which she began using digital effects). It also provides the rare opportunity to see a number of the artist's most celebrated series in their entirety together with her Hallwalls beginnings, making for a show that promises to foreground the perverse promiscuity of Sherman's brilliant and multifaceted oeuvre even while eliciting and confusing readings of it all the more.

Travels to the Kunsthaus Bregenz, Austria, Nov. 25, 2006-Jan. 14, 2007; Louisiana Museum of Modern Art, Copenhagen, Feb. 9-May 13, 2007; Martin-Gropius-Bau, Berlin, June 13-Sept. 10, 2007.--Johanna Burton

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NEW YORK

Douglas Gordon

MUSEUM OF MODERN ART

June 11-September 4

Curated by Klaus Biesenbach

In 1993 Scottish artist Douglas Gordon made 24 Hour Psycho, which, as its title suggests, presents Alfred Hitchcock's Psycho slowed down to last the length of a day. The art world has yet to recover. Considering the fervent dialogue between art and cinema in the decade that followed, Gordon--whose cinematic experiments in the '90s included references to major filmmakers like Andy Warhol and Martin Scorsese--should certainly be seen as a, if not the, key artist of the period. This show of thirteen major films, installations, and text pieces includes Between Darkness and Light (After William Blake), 1997, in which the films The Exorcist and Song of Bernadette are shown on one screen simultaneously, and Play Dead; Real Time, 2003, a three-channel video installation featuring an elephant. Travels to the Museo de Arte Latinoamericano de Buenos Aires-Coleccion Costantini, dates TBA.--Daniel Birnbaum

Zaha Hadid

SOLOMON R. GUGGENHEIM MUSEUM

June 3-October 25

Curated by Germano Celant and Monica Ramirez-Montagut

In the late '70s and '80s, exhibitions were the real performance stage for Zaha Hadid. A visionary architect of unrealizable works--or so it was said at the time--Hadid could present experimental forms of architecture only through her paintings and installations. But all that changed in 1993, when the Vitra fire station--her first major built design--was completed in Weil am Rhein, Germany. This ambitious retrospective comprises some four hundred works, including documentation of her most recent realizations, like the Phaeno Science Centre in Wolfsburg, Germany, completed in 2005 (a year after she won the Pritzker Prize), as well as the models, drawings, paintings, and computer renderings with which Hadid had made a reputation even before becoming an acclaimed international star.--Emiliano Gandolfi

AngloMania: Tradition and Transgression in British Fashion

METROPOLITAN MUSEUM OF ART

May 3-September 4

Curated by Andrew Bolton and Harold Koda

British fashion smacks of social revolt: Doesn't punk doyenne Vivienne Westwood, who dressed the Sex Pistols in the '70s, embody the national approach? Perhaps it was a desire for revision that brought curators Bolton and Koda to position more than sixty pieces by sixteen contemporary British designers--transgressors like Westwood and Alexander McQueen, as well as traditionalists like Burberry's Christopher Bailey--in the museum's eighteenth-century English period rooms according to atavistic themes like the dandy and the English garden. But let's not forget that Burberry, which sponsors the exhibition, was revived by naughty Kate Moss and that the brand's tartan pattern has become a gang symbol for rowdy footballers--proving once and for all that, despite this exhibition's dainty setting, the chief tradition in British fashion is transgression.--Christopher Bollen

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Betty Woodman

METROPOLITAN MUSEUM OF ART

April 25-July 30

Curated by Jane Adlin

Ancient as culture itself, the clay vessel is a simple but endlessly mutable form, which New York- and Italy-based painter and sculptor Betty Woodman has explored in ways that fuse its various historical incarnations--from the utilitarian to the art-historical--referencing Tang Dynasty objects, Sevres porcelains, Greek sculpture, Japanese kimono patterns, and paintings by Matisse and Picasso. This exhibition, her first retrospective in the United States, spans Woodman's fifty-year career by way of some seventy drawings, paintings, wall reliefs, and ceramics--like usable (albeit fantastical) teacups, "Pillow Pitchers" (two fused cylinders with pinched ends), and five large urns commissioned for the Metropolitan's Great Hall. The show is accompanied by a monograph on the artist, with essays by critics Arthur C. Danto, Janet Koplos, and Barry Schwabsky.--Frances Richard

Eva Hesse

JEWISH MUSEUM

May 12-September 17

Curated by Elisabeth Sussman and Fred Wasserman

Eva Hesse's radical latex and fiberglass sculptures--first shown at New York's Fischbach Gallery in 1968--will be the core of this exhibition. Focusing on a pivotal moment when the artist "unmade" the category of sculpture to continue her own work in it, this show comprises twenty-three sculptures (including five of the eight shown in 1968), a selection of drawings, and never-before-shown archival material. The exhibition is accompanied by a catalogue with essays by the curators and by art historians Yve-Alain Bois and Mark Godfrey, and runs parallel to a show of Hesse's works on paper downtown at the Drawing Center (cocurated by Sussman and Catherine de Zegher). Conceived quite differently from Sussman's full-scale 2002 Hesse retrospective, which never made it to New York, these complementary presentations will offer audiences the chance to engage with Hesse's work in a more intimate fashion.--Briony Fer

Weegee

INTERNATIONAL CENTER OF PHOTOGRAPHY

June 9-August 27

Curated by Cynthia Young

The exhibition title "Unknown Weegee" certainly sounds promising, since Weegee (aka Usher "Arthur" Fellig, 1899-1968) is about as unknown as Diane Arbus. Even twelve-year-old photography enthusiasts are familiar with his images of pullulating masses at Coney Island; rich, freaky old bags at the opera; and vicious crime scenes. But guest curator Cynthia Young has drawn upon the International Center of Photography's unique archive of nearly twenty thousand prints by this echt-New York tabloid-news shutterbug to present some one hundred images that have never been shown. Archival photographs, as well as a catalogue with essays by Young and photography historian Luc Sante, supplement the artist's pictures and flesh out the contours of a Weegee we haven't as yet encountered.--David Rimanelli

Into Me/Out of Me

P.S. 1 CONTEMPORARY ART CENTER

June 25-September 25

Curated by Klaus Biesenbach

There's nothing metaphoric about the title of this exhibition: Museum of Modern Art and P.S. I curator Klaus Biesenbach has marshaled a group of more than one hundred paintings, sculptures, videos, multimedia works, and installations (some large-scale) from the past six decades on the theme of corporeal entering and exiting, from metabolism (nourishment and excretion) and reproduction (intercourse to birth) to violence (shooting and--ouch!--impaling). Marina Abramovic, Matthew Barney, Mona Hatoum, Paul McCarthy, and Rirkrit Tiravanija, among many others, probe the probing of the human body in ways both routine and experimental. Save lunch for after the show. Travels to Kunst-Werke Berlin, Nov. 25-TBA.--Lisa Pasquariello

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Grey Flags

SCULPTURECENTER

May 7-July 30

Curated by Anthony Huberman and Paul Pfeiffer

"Grey Flags" rounds up a generation-spanning coterie of artists who, in a variety of mediums, flood the marketing circuits of the art world, engaging in direct interventions (a la Seth Price, whose work here is the commandeering of the exhibition's title and promotional text from the institution) or simply dancing between the categorical raindrops (a la the protean John Armleder). All nineteen participants, including Lutz Bacher, Tacita Dean, Allen Ruppersberg, Shirana Shahbazi, and Apichatpong Weerasethakul, resist pigeonholing and branding--something that can also be said of artist Paul Pfeiffer, here making his curatorial debut alongside SculptureCenter curator Anthony Huberman. In addition to forty-four works made since 1971, the show will feature performances, lectures, and a massive catalogue with contributions from each artist--but don't expect any of them to sum things up neatly.--Elizabeth Schambelan

James Brown

FISHER LANDAU CENTER FOR ART

April 23-October 16

Curated by Bill Katz and Bernd Kluser

The itinerant painter and sculptor James Brown--not to be confused with the godfather of soul--makes art not only in various media but in many locations. His works on paper, which for Brown can mean anything from an envelope to fine Japanese fiber paper, were created in sites as far flung as New York, Tokyo, Paris, Tangiers, Oaxaca, and Naples. The 120 objects on display here encompass a quarter century of production and expand on the survey exhibition organized by Klusen that toured France and Germany from 1999 to 2001. For the current show, Katz, curator at the Fisher Landau Center, has added to the European-exhibition checklist a substantial selection of pieces made by Brown since 1999. The works range from abstract gouaches to biomorphic and figurative watercolors to collages that update the synthetic Cubist experiments of Picasso and Braque.--Martha Schwendener

Best of Friends: Buckminster Fuller and Isamu Noguchi

NOGUCHI MUSEUM

May 19-October 15

Curated by Shoji Sadao

Buckminster Fuller was a brilliant polymath who invented the geodesic dome and the Dymaxion car--a fanciful, fuel-saving, three-wheeled automobile of the future. His friend and sometime collaborator Isamu Noguchi made a one-tenth-scale prototype of the groundbreaking vehicle--its streamlined design part Machine Age, part Amazing Stories--which will be featured in this exhibition of some forty models, sculptures, and photographs selected by Sadao, former Noguchi Foundation director and a longtime collaborator with both men. Noguchi is considered a reconciler of the aesthetics of East and West, but here we will see how Fuller's influence fueled lifelong interests in other dualisms--art and design, thought and utility--apparent in everything from Noguchi's playground designs to his paper lamps. Don't miss the Japanese artist's chrome-plated(!) bust of Fuller, a tribute to their solid friendship.--Josiah McElheny

Graffiti

BROOKLYN MUSEUM

June 30-September 3

Curated by Charlotta Kotik

When Sidney Janis's venerable gallery on New York's Fifty-seventh Street mounted "Post-Graffiti" in 1983, the event seemed monumental. For more than five decades of collecting and dealing, Janis had kept abreast of the times, successively championing modern, Abstract Expressionist, and Pop art, and now he had turned his attention to graffiti just as its practitioners were transitioning from train cars to canvas and gaining creative traction, making him the hippest octogenarian of his day. As art-world tastes and media hype moved on, however, Janis continued showing and collecting graffiti art. The Brooklyn Museum's exhibition of twenty large-scale works culled from his estate--by ten artists, including Crash, Daze, Tracy 168, Lady Pink, Toxic, and A-One--should establish that, rather than being a dealer late in his dotage, Janis was prescient as ever.--Carlo McCormick

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BOSTON

Designing the Modern Utopia: Soviet Textiles from the Lloyd Cotsen Collection

MUSEUM OF FINE ARTS

July 26, 2006-January 21, 2007

Curated by Alex Huff and Pamela Kachurin

The figurative art of Soviet socialist realism has recently claimed attention previously reserved for the Russian avant-garde--think of the spectacular socialist realism room in the recent "Russia!" exhibition at the Solomon R. Guggenheim Museum in New York. So this show of more than one hundred figurative Soviet textiles and drawings made between 1927 and 1933 is particularly timely. Unlike Russian Constructivist textiles, with their familiar geometric patterns, these works feature abstracted but legible tractors, airplanes, harvesting peasants, and children playing ball. What can the little figures on these fetching fabrics tell us about life in the USSR under Stalin? The catalogue, with an essay by Soviet-art scholar Pamela Kachurin (who is cocurating the exhibition with the MFA's Alex Huff), should help provide an answer.--Christina Kiaer

NORTH ADAMS, MA

Ahistoric Occasion: Artists Making History

MASS MOB@

May 27, 2006-February 28, 2007

Curated by Nato Thompson

To gain purchase on the atemporality of the current moment, this exhibition of nearly fifty photographs, videos, installations, and sculptures from the past six years highlights eleven artists who reevaluate historical events and notions of progress. Approaches range from restaging--Jeremy Deller's reprise of a 1984 strike by England's National Union of Mineworkers, Allison Smith's Civil War reenactments--to more allusive sampling, like Yinka Shonibare's African textiles and Dario Robleto's alchemical assemblages. Accompanied by a catalogue with essays by the curator, historian Martin Jay, and critics Daniel Rosenberg and Sasha Archibald, "Ahistoric Occasion" assures a host of new takes on our knotty present, adding yet another twist to the already paradoxical project of historicizing contemporary art.--Lisa Pasquariello

CHICAGO

Wolfgang Tillmans

MUSEUM OF CONTEMPORARY ART

May 20-August 13

Curated by Russell Ferguson and Dominic Molon

Wolfgang Tillmans resists a clear-cut chronology within his own practice by exhibiting earlier photographs alongside more recent work. Though a retrospective (the artist's first in the US), this show promises the same salon-style installation: Tillmans will arrange some three hundred videos, installations, and photographs--from late-'80s and '90s still lifes and portraits to recent light-effect abstractions--according to aesthetic groupings that will change at each institution to which the exhibition Travels. In its rejection of both formal hierarchies and a linear approach, the show--co-organized by the MCA and the UCLA Hammer Museum--will doubtless demonstrate that Tillmans's wide range of vision is, above all, democratic. Travels to the UCLA Hammer Museum, Sept. 17, 2006-Jan. 7, 2007; Hirshhorn Museum and Sculpture Garden, Washington, DC, Feb. 15-May 13, 2007.--Kyle Bentley

GREENSBORO, NC

High Times, Hard Times: New York Painting 1967-1975

WEATHERSPOON ART MUSEUM

August 6-October 15

Curated by Katy Siegel

Art histories fall silent when it comes to painting between Pop art's advent in the early '60s and the emergence of New Image painting and its bastard neo-expressionism toward the end of the '70s. Organized by Independent Curators International, this exhibition will likely show, however, that the period was a tumultuous one. Painters at the time, especially those in New York, reacted to Minimalism and Conceptual art--not to mention societal upheavals, particularly the resurgence of feminism (nearly half of this show's thirty-eight artists are women)--and against Clement Greenberg's rigid formalist prescriptions. Celebrated artists abound, from Mel Bochner to Elizabeth Murray, but a fresh look at less familiar figures like Dan Christensen and Howardena Pindell promises greater rewards. Travels to the Katzen Arts Center at American University, Washington, DC, Nov. 19, 2006-Jan. 21, 2007; and other venues.--Barry Schwabsky

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DES MOINES, IA

Cecily Brown

DES MOINES ART CENTER

July 28-October 1

Curated by Jeff Fleming

It's extraordinary that Cecily Brown has had such success with paintings based on a deeply unfashionable aesthetic--for haven't our art-history schoolmasters taught us that de Kooning and all that flows from his influence bear the kiss of death? Yet here comes the London-born, New York-based painter wearing the ardent, de Kooning-esque heart of her impassioned brushwork on the sleeve of her lewd yet elusive images. This selection of eighteen of Brown's gutsy, semifigurative paintings from 1997 to the present--accompanied by a catalogue featuring essays by the curator, art historian Linda Nochlin, and Harvard University Fogg Art Museum curator Linda Norden--constitutes her first museum survey in her adopted country and should be a welcome reminder of de Kooning's famous conviction that "flesh was the reason oil paint was invented." Travels to the Museum of Fine Arts, Boston, Oct. 16, 2006-Jan. 7, 2007.--Barry Schwabsky

MINNEAPOLIS

Cameron Jamie

WALKER ART CENTER

July 16-October 14

Curated by Philippe Vergne

Like a goofier, less bilious Antonin Artaud, Cameron Jamie locates trauma emerging from unacknowledged forms of social theater by zooming in on subcultures in his native San Fernando Valley and elsewhere. Backyard wrestling, haunted-house decorating, and competitive hot dog-eating are among the popular, if marginalized, ritual phenomena investigated in this exhibition of some forty of his works made since 1984. The show centers around four films--BB, 2000; Kranky Klaus, 2003; Spook House, 2003; and JO, 2004--unfussy documents, shot with handheld cameras, that never position the artist above his subjects, suggesting that Jamie, like a studious anthropologist, is a willing victim happily along for the ride. This show (his first solo museum endeavor in the United States) and the accompanying artist's book will surely position Jamie within another unruly subculture: the art world.--Michael Ned Holte

ASPEN, CO

Doug Aitken

ASPEN ART MUSEUM

June 2-July 23

Curated by Heidi Zuckerman Jacobson

This survey will be the first to focus exclusively on Doug Aitken's still photography, which, like his more familiar video installations, explores such themes as disembodiment, solitude, spatial dislocation, and nonlinear narrative. While Aitken's moving-image environments are immersive and sensory, however, his photographs are silent, lucid, and haunting imprints of recurring interests--nighttime cityscapes, places of public transit (highways, airports, and bus stations). The pictures, about thirty of which are presented in this exhibition, often feel disembodied from the physical world they represent, as if describing the shadowy experience of the somnambulist. The accompanying publication, made in close collaboration with Aitken, will take the form of something between a catalogue and an artist's book.--Stephen Frailey

SANTE FE, NM

SITE Santa Fe Biennial

SITE SANTA FE

July 9, 2006-January 7,2007

Curated by Klaus Ottmann

While other biennials present grandiose curatorial themes and ballooning artists' lists, Ottmann, a New York-based independent curator and scholar, pares down SITE Santa Fe for its sixth installment, enigmatically titled "Still Points of the Turning World," to approximately forty works (none of which has ever been seen in the United States) by just thirteen international artists, including Jennifer Bartlett, Stephen Dean, Peter Doig, Jonathan Meese, Wangechi Mutu, and Carsten Nicolai. Primarily arranged in separate rooms by artist, the biennial is more than the sum of thirteen solo exhibitions, instead bringing out the works' shared qualities--like "intensity," "visceral presence," and "experimentation"--evident everywhere from Patty Chang's videos, which explore double-edged desires, to Wolfgang Laib's organic sculptures, monumental in their simplicity.--Lori Waxman

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SAN FRANCISCO

Matthew Barney

SAN FRANCISCO MUSEUM OF MODERN ART

June 23-September 17

Curated by Yuko Hasegawa

Now that the completed Cremaster cycle has toured the world, it is time to consider Matthew Barney's other ambitious multidisciplinary project, "Drawing Restraint," 1987-, which embodies yet more of his incomparable cosmology. The sweeping exhibition at SF MOMA--curated by Yuko Hasegawa from the 21st Century Museum of Contemporary Art in Kanazawa, Japan (where it premiered last summer), and co-organized with the Leeum, Samsung Museum of Art in Seoul--will present nearly 150 films, sculptures, drawings, and photographs from the ongoing project. Among them will be the first works Barney realized while studying at Yale in the late '80s and the much-discussed ninth chapter: a film featuring the artist and his wife, Bjork, as Occidental visitors to Japan who undergo a gruesome transformation on a whaling ship. Rumor has it that Barney might make a fourteenth installment especially for the show.--Daniel Birnbaum

NEWPORT BEACH, CA

Catherine Opie

ORANGE COUNTY MUSEUM OF ART

June 4-September 3

Curated by Elizabeth Armstrong and Jessica Hough

Catherine Opie fuses the observational tradition of American photography with a European poststructuralist approach to identity politics in a practice that seeks to determine the aesthetic and cultural languages that articulate community. Co-organized by Armstrong, from OCMA, and Hough, from Connecticut's Aldrich Contemporary Art Museum, where a smaller version premiered in January, this survey comprises some 140 photographs in nine series--beginning with a selection from Opie's graduate project, "Master Plan," 1986-88, which chronicles the development of a housing project in Valencia, California, and ending with work from "In and Around Home," 2004-2005, which explores her neighborhood in Los Angeles. An accompanying catalogue features a story by A. M. Homes and essays by the curators. Travels to the Museum of Contemporary Art, Cleveland, Sept. 29-Dec. 30.--Stephen Frailey

SAN DIEGO

Transmission: The Art of Matta and Gordon Matta-Clark

SAN DIEGO MUSEUM OF ART

August 19-November 12

Curated by Betti-Sue Hertz

A Chilean expat in Paris and the US, Roberto Matta Echaurren was a painter, an architect, and, as a friend of Breton and Duchamp, an inner-circle Surrealist. He was not, apparently, a very good father. But his son (and Duchamp's godson) Gordon Matta-Clark, who was born and bred in New York and also trained as an architect, became a pathbreaking artist anyway, by introducing Land art principles to urban settings. Bringing together eighty-one works by both artists, as well as archival material, the exhibition will, surprisingly, be the first to compare their careers. In a main section, paintings by Matta will precede documentation and sculptural fragments of Matta-Clark's Office Baroque, his last important "anar-chitectural" building-cut, made in Antwerp in 1977. An accompanying catalogue includes essays by, among others, art historian Briony Fer and architecture scholar Anthony Vidler.--Frances Richard

PASADENA, CA

Translucence: Southern California Art from the 1960s and 1970s

NORTON SIMON MUSEUM

May 12-August 28

Curated by Michelle Deziel

"I would like to have some magical saw," artist DeWain Valentine once remarked, "that would allow me to cut up large sections of the sky or sea." Such fantasy reveals much of the spirit behind this show of twenty-three works by ten artists (including Valentine) who worked in Southern California in the '60s and '70s and--inspired by everything from hot-rod finishes and surfboard resin to Malibu sunsets--experimented with glass, Plexiglas, fiberglass, and cast plastics to make objects that mimick, capture, reflect, and toy with light and atmosphere. The show pinpoints a group that was simultaneously a subset of the finish-fetish crowd and the object-oriented kin of the Light and Space bunch, fusing a spit-polish literalism with airy illusionism and bastardizing stark Minimalist forms with a Pop Californian Romanticism.--Christopher Miles

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LOS ANGELES

Richard Pousette-Dart

LOS ANGELES COUNTY MUSEUM OF ART

June 29-September 17

Curated by Robert Flynn Johnson

Richard Pousette-Dart was the youngest of the "irascibles," but he made up for his late start by working into the early '90s. His mythical brand of expressionism was sometimes abstract and sometimes figurative, betraying debts to Surrealism and Native American and Oceanic art. Organized by LACMA, Fine Arts Museums of San Francisco, and the Cincinnati Art Museum, this exhibition is Pousette-Dart's largest in a museum on the West Coast and will showcase the artist's transcendental mysticism in fifty drawings from 1940 to 1992, representing his progression through as many styles--from the totemic, which marked his early years, to the abstract black-and-white of his later works--as there were decades of production. Travels to the Achenbach Foundation for Graphic Arts, San Francisco, Oct. 14, 2006-Jan. 14, 2007; Cincinnati Art Museum, Feb. 3-May 3, 2007.--Suzanne Hudson

RIO DE JANEIRO

Anish Kapoor

CENTRO CULTURAL BANCO DO BRASIL

July 24-September 7

Curated by Marcello Dantas and Lorenzo Fiaschi

Though Londoner Anish Kapoor was born in Bombay to a Hindu father and a Jewish Iraqi mother, Brazil, strangely, seems a perfect context for his work. In his emphasis on biomorphic forms and the limits of materiality, Kapoor shares strikingly similar sculptural concerns with Brazilians Ernesto Neto, Lygia Clark, and Cildo Meireles. His career survey and first solo show in South America features twelve works--videos, paintings, mirrored pieces, and pigment and large-scale sculptures from 1975 to 2006--that concentrate on "reflection, color, spirit, stone, and light." A catalogue accompanies, with essays by cocurators Dantas and Fiaschi. Travels to the Centro Cultural Banco do Brasil, Brasilia, Oct. 12, 2006-Jan. 7, 2007; Centro Cultural Banco do Brasil, Sao Paulo, Jan. 29-Apr. 1, 2007.--Rachel Kushner

LONDON

Undercover Surrealism: Picasso, Miro, Masson, and the Vision of Georges Bataille

HAYWARD GALLERY

May 11-July 30

Curated by Dawn Ades, Simon Baker, and Fiona Bradley

Georges Bataille's enterprise of sabotaging the "frock coat" of reason and running its idealist underpinnings into the mud, which began with his editing of the journal Documents in 1929, is by now well known in cultural and literary studies. But Documents was, among other things, an art magazine, and though Bataille's take on art has been examined by specialists, the alternative view he proposed not only of Surrealism but also of modernism in general has not yet fully registered. "Undercover Surrealism" uses these very ideas as its focus: Works discussed by Bataille and others in the journal make up the bulk of the more than two hundred objects, which date from prehistory to the 1930s. The show should test the cohesiveness of Document's group aesthetic (or, for that matter, anti-aesthetic) vision.--Yve-Alain Bois

Wassily Kandinsky

TATE MODERN

June 22-October 1

Curated by Hartwig Fischer and Sean Rainbird

The modernist master narrative will make its case again this summer at Tate Modern, where Wassily Kandinsky's epic struggle to achieve his breakthrough to abstraction will be charted in "Kandinsky: The Path to Abstraction 1908-1922," a focused exhibition--cocurated by the Kunstmuseum Basel's Fischer and Tate's Rainbird--of fifty paintings and thirty works on paper by the artist. The objects will be dazzling to see, but a less predictable framing of Kandinsky might have promised a more adventurous revisiting of this complicated Russian who was both international and nationalistic, as well as Soviet (briefly), spiritual, ethnographic, folkloric, and, yes, abstract. The catalogue features essays by, among others, art historian Shulamith Behr and critic Noemi Smolik. Travels to the Kunstmuseum Basel, Oct. 21, 2006-Feb. 4, 2007.--Christina Kiaer

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Bas Jan Ader

CAMDEN ARTS CENTRE

April 28-July 2

Curated by Jenni Lomax and Sarah Martin

The River Phoenix of Conceptual art, Bas Jan Ader has become the moody favorite of every artist too young to have known of his work in 1975--when he was lost at sea while executing his three-part investigative piece, In Search of the Miraculous--in part because the 1988 Stedelijk Museum retrospective and the 1999 University of California, Irvine show secured his renown. In 2004 Art in America chronicled appearances of new editions that some attributed to the Dutch artist, who, it turned out, had not actually risen from the dead. Comprising some forty works--films, videos, installations, and documentary material--the first full-scale Ader show in the UK is organized by the Camden Arts Centre with Rotterdam's Museum Boijmans van Beuningen, which will publish a catalogue raisonne that should put to rest any doubts about "new" work, and set the course of Ader's craft aright. Travels to the Museum Boijmans van Beuningen, Rotterdam, Aug. 26-Oct. 29.--Bruce Hainley

Albert Oehlen

WHITECHAPEL ART GALLERY

July 7-September 3

Curated by Martin Clark and Andrea Tarsia

Albert Oehlen has wittily bastardized painting's lofty pretensions for decades. Now the good object of "bad" German painting is getting his first major UK survey. Some fifty works from the last twenty years will sprawl throughout the White-chapel and Arnolfini, displaying the range of Oehlen's "post-nonrepresentational" practice. Abstract and large collage paintings will hang at the Whitechapel, while poster works, smaller collages, and computer and additional abstract paintings go on view at the Arnolfini in the fall. His gray paintings are shared between the two sites of this co-organized retrospective--a good thing, since these works, more than almost anything else in Oehlen's ouevre, push the limits of representation to the point of exquisitely absurd failure. The triumph of painting, indeed. On view at the Arnolfini, Bristol, Sept. 30-Nov. 26.--Suzanne Hudson

LIVERPOOL

Bruce Nauman

TATE LIVERPOOL

May 19-August 28

Curated by Laurence Sillars

The largest Bruce Nauman exhibition in Europe since 1998, this survey follows the American artist's understated yet commanding occupation of Tate Modern's Turbine Hall last year and takes as its focus the artist's ongoing investigations into the human condition. Comprehensive in scope, the show includes sixty works from the '60s to the present, divided into two sections. The first concentrates on neon works, sound and instructional pieces, films and videos, works on paper, and sculptures that incorporate language, wordplay, and the use of Nauman's own body. The second assembles pieces that invite more-self-consciously active involvement on the part of the audience through a mix of seduction, confrontation, intimidation, and control. Specially re-created works, such as Corridor with Mirror and White Lights, 1971, are included here. Travels to the Museo d'Arte Contemporanea Donna Regina, Naples, Oct. 14, 2006-Jan. 8, 2007.--Michael Archer

DUBLIN

Barry Flanagan

IRISH MUSEUM OF MODERN ART

June 28-September 17

Curated by Enrique Juncosa

From the soft sculptures of the late '60s and the stone, marble, and sheet-metal pieces of the '70s (with their allusions to Alfred Jarry's absurdist 'pataphysics) to his more recent bronze casts of hares and other animals, British artist Barry Flanagan has always balanced humor and thoughtfulness with a concern for the essential qualities of sculpture--gravity, the manipulation of material, and representation. This career-spanning survey will extend out of doors onto IMMA's grounds and even on to one of Dublin's main thoroughfares, O'Connell Street, where Dublin City Gallery The Hugh Lane has arranged for eight large bronzes to be displayed. A catalogue includes essays by scholars Bruce Arnold and Mel Gooding, as well as an interview with Flanagan by Hans-Ulrich Obrist.--Michael Archer

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PARIS

Cerith Wyn Evans

MUSEE D'ART MODERNE DE LA VILLE DE PARIS

June 9-September 17

Curated by Laurence Bosse, Anne Dressen, Hans-Ulrich Obrist, and Angeline Scherf

The enfants terribles have grown up. First, Pierre Huyghe was chosen earlier this year to inaugurate the MAMVP's newly renovated contemporary exhibition space. Now it is Cerith Wyn Evans's turn to shine. The atmosphere should be electric: Twenty-five works from the past decade--including seventeen lightbulb chandeliers, three "dreamachine" installations, a slide projection, and mirrored and neon pieces--will illuminate the galleries in a show titled "... in which something happens all over again for the very first time." Let's just hope that the concurrent Dan Flavin show doesn't absorb all the attention (and the power supply). Otherwise the only thing that will happen all over again is visual fatigue. Travels to the Lenbachhaus Kunstbau, Munich, Nov. 25, 2006-Feb. 25, 2007.--Paul Galvez

NIMES

Gilles Barbier

CARRE D'ART--MUSEE D'ART CONTEMPORAIN

May 31-September 17

Curated by Francoise Cohen

To penetrate the universe of Gilles Barbier, a particularly unclassifiable artist and an enemy of the slick, is to enter a proliferating fiction, a riotous rewriting of the contemporary world. No doubt Barbier's first full-career survey show, which features 170 drawings, gouaches, and sculptures made since 1993, will clash devilishly with Norman Foster's restrained architecture. In contrast to the museum's straight lines, the French artist will construct a series of imaginative spaces: among them, a walk-through pie chart made of resin and earth (complete with giant fake worms), the latest version of his Mega Maquette (a twenty-three-foot-long sculpture that maps the themes in Barbier's works), and a functioning tunnel connecting two galleries.--Jean-Max Colard

Translated from French by Jeanine Herman.

SAINT-ETIENNE

Jean-Marc Bustamante

MUSEE D'ART MODERNE

June 2-August 28

Curated by Lorand Hegyi

Jean-Marc Bustamante's work has, since the '70s, relied on a perceptual disconnect between image and subject, one he explores in every possible permutation--from early, fragmentary landscape photographs reminiscent of commercial advertising to more recent gestural drawings that are enlarged and silk-screened on to transparent wall-mounted Plexiglas. This exhibition, which follows on the heels of a similar show at the Kunsthaus Bregenz at the beginning of the year, expands on Bustamante's installation in the French pavilion at the 2003 Venice Biennale, by bringing together roughly thirty Plexiglas pieces, most made since 2004. It should be interesting to see how this cross-section of new and recent work further reveals Bustamante's notion of the abstract artifact.--Guitemie Maldonado

Translated from French by Jeanine Herman.

MADRID

Picasso: Tradition and Avant-garde

MUSEO NACIONAL DEL PRADO/MUSEO NACIONAL CENTRO DE ARTE REINA SOFIA

June 6-September 3

Curated by Carmen Gimenez and Francisco Calvo Serraller

Picasso would probably have been thrilled to see his paintings hanging alongside works from the Prado by the great Spanish artists who inspired him, and this two-part survey covers each stage of his career. In the Prado, fifty of his canvases are to be juxtaposed with paintings from the museum's collection (for instance, Picasso's Reclining Nude, 1964, will be paired with Goya's Naked Maja, ca. 1798-1805), tendering a set of analogies sure to inspire critical reflection. The exhibition's occasion is the twenty-fifth anniversary of the "return" of Guernica, 1937, to Spain (where it had never been before), and the Reina Sofia focuses on this painting and its legacy. For the first time, Picasso's canvas will be hung with Manet's Execution of Maximilian, 1868-69, and Goya's Third of May 1808, 1814.--Dorothy Sanders

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BARCELONA

Peter Friedl

MUSEU D'ART CONTEMPORANI DE BARCELONA

May 26-September 3

Curated by Bartomeu Mari

Peter Friedl doesn't care much about institutional expectations. So there's a good chance that this retrospective exhibition, which includes some 230 works spanning the past forty years--from childhood drawings to recent installations, videos to wall paintings--will reveal both the problems linked to the "musealization" of artistic practice and the Berlin-based artist's doubts regarding formal categorization. Unclassifiable as it is, his multimedia oeuvre often treats genre as a concept and children's games as articulations of the social and political. In the accompanying catalogues, critic Mieke Bal, media theorist Norman M. Klein, Documenta 12 artistic director Roger M. Buergel, and curator Mari offer insight into this surprisingly humorous discursive space. Travels to Miami Art Central, Jan. 11-Mar. 18, 2007.--Vanessa Joan Muller

PORTO

Gego

MUSEU DE SERRALVES

July 27-October 12

Curated by Monica Amor

Gego's constructions--abstract drawings, prints, and wire sculptures based on strategies of modularity, repetition, and dispersal--create a geometry that is mutable rather than fixed. The German-born Venezuelan artist's first large-scale exhibition in Europe, co-organized with the Museu d'Art Contemporani de Barcelona, brings together approximately one hundred works from the 1950s to the '80s, grouped according to a logic of form rather than of chronology or genre. By installing the works in this way, Amor builds on what is most astonishingly palpable about a Gego piece: its ability to dispense with the concept of media in favor of a phenomenology of line. The catalogue includes texts by Amor, Yve-Alain Bois, Guy Brett, and Iris Peruga. Travels to Museu d'Art Contemporani de Barcelona, Nov. 11, 2006-Jan. 14, 2007.--Irene Small

VENICE

Lucio Fontana

PEGGY GUGGENHEIM COLLECTION

June 4-September 24

Curated by Luca Massimo Barbero

Was Lucio Fontana really a romantic? Expect to see an underexamined side of his mature career in this exhibition, which unites two interrelated series for the first time. Fontana is perhaps best known for opening the "conceptual space" of spare, monochromatic paintings (each generically titled Spatial Concept) with physical incisions. In Venice in 1961, however, he sliced into canvases uncharacteristically caked with thick, swirling metallic paint and gave them naturalistic titles like Sky in Venice. While exhibiting this oddly baroque series in New York that same year, Fontana again adapted his signature gesture: The alternately jagged openings and glinting surfaces produced by cuts into copper sheets reflect his experience of the metropolis. With some seventy paintings, metal pieces, and drawings, this show should provide a deeper insight into the avant-garde master's ouevre.--Elizabeth Mangini

BOLOGNA

Giovanni Anselmo

GALLERIA D'ARTE MODERNA DI BOLOGNA

May 26-August 27

Curated by Gianfranco Maraniello and Andrea Viliani

"I, the world, things, life--we are all situations of energy." Giovanni Anselmo wrote these words in 1969, during the heyday of arte povera, and has since developed an artistic practice that explores visible forms of latent energy in the natural world. Whether with vegetables, granite blocks, or projected light, Anselmo makes empty spaces and raw materials vibrate with a sense of gravity, direction, and time. The first exhibition of his work in an Italian museum in sixteen years comprises some thirty pieces: sculptures, photographs, and slide projections from the '60s and '70s, along with recent projects. An artist adept at conjuring displacement, Anselmo will also create a new work for the show that addresses the institution's relocation next year, when it will be renamed the Museo d'Arte Moderna Bologna, or MAMBO. The accompanying catalogue includes essays by Rosalind Krauss, Tacita Dean, and the curators.--Elizabeth Mangini

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ZURICH

The Expanded Eye

KUNSTHAUS ZURICH

June 16-September 3

Curated by Bice Curiger

Four decades after MOMA's seminal 1965 exhibition "The Responsive Eye" (and nearly as many years since the publication of Gene Youngblood's Expanded Cinema), "The Expanded Eye" investigates the organ of sight--its physiologically and technologically abetted faculties--and real and virtual visual effects. Comprising 120 kinetic objects, paintings, and film and video installations from the '40s to the present by such stalwarts as Marcel Duchamp, Josef Albers, Bridget Riley, Nam June Paik, Jean Tinguely, Robert Smithson, James Turrell, Olafur Eliasson, and Pierre Huyghe, the show foregrounds induced visual experiences that are less about traditional optics than about contingently shifting perspectives wherein, as the press release puts it, "the expanded eye becomes the 'collective I.'"--Suzanne Hudson

BERN

Meret Oppenheim

KUNSTMUSEUM BERN

June 2-October 8

Curated by Therese Bhattacharya-Stettler

Surrealism may have given its female members short shrift, but we have a woman to thank for the movement's most enduring icon: Meret Oppenheim's 1936 Dejeuner en fourrure (aka the furry teacup). But if the work's witty play of oppositions and deft deployment of found objects epitomize Surrealist concerns, they also attest to the principal themes of Oppenheim's still-underappreciated career. Indeed, as curator Bhattacharya-Stettler points out, the furry teacup's fame has tended to eclipse rather than illuminate the rest of Oppenheim's oeuvre. Drawing on Kunstmuseum Bern's rich holdings, Bhattacharya-Stettler sets out to prove that the Swiss artist was no one-hit wonder. This comprehensive survey of some 240 works from 1933 to 1985 will no doubt do much to establish Oppenheim's rightful place alongside her better-known male Surrealist peers.--Margaret Sundell

MUNCHENSTEIN/BASEL

Tacita Dean

SCHAULAGER

May 13-September 24

Curated by Theodora Vischer

Described as a "viewing warehouse," the Schaulager aims at a new approach to the study and conservation of art, halfway between storage and display. But its formidable yearly exhibitions--previous subjects have been Dieter Roth, Jeff Wall, and the building's architects, Herzog & de Meuron--clearly indicate that this institution also seeks a consecratory role a la Dia. So welcome "Tacita Dean--Analogue: Films, Photographs, Drawings 1991-2006," the latest retrospective devoted to the remarkable Berlin-based English artist, who over the past decade has been a central figure in film's massive migration to the precincts of art. Rigorously analytical, Dean's work is nonetheless intensely atmospheric and intimate--filled with a muted sense of yearning. The effect of the twenty films, photographs, and drawings on view is guaranteed to be overwhelming.--Barry Schwabsky

BASEL

Lee Lozano

KUNSTHALLE BASEL

June 15-August 27

Curated by Adam Szymczyk

In the early '70s, Lee Lozano left the art world and never looked back. The rediscovery of this iconoclastic--and notorious--figure of the '60s began just before her death in 1999 and continues apace with this comprehensive survey, the artist's first in Europe. Comprising approximately one hundred works spanning Lozano's ten-year career, the show traces the path of her art from the physical to the cerebral. Included are intense and emotionally raw early drawings (the words "he gave her a good screwing he said" accompany the image of a man sawing through a two-by-four); "tool" paintings full of manic, masculine energy; minimal canvases from the mid-'60s; and late Conceptual text pieces, some of the era's most irreverent. Throwing Up Piece from 1969 instructs, "Throw the last twelve issues of Artforum up in the air." Travels to the Van Abbemuseum, Eindhoven, the Netherlands, Oct. 1-Nov. 19.--Bob Nickas

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VIENNA

Edward Krasinski

GENERALI FOUNDATION

May 11-August 27

Curated by Sabine Breitwieser

Polish Conceptualist Edward Krasinski is known primarily for his signature 19-mm-wide blue tape that runs along walls and over anything else it might find along the way, at a standard height of 130 cm. His tape has crossed mirrors, windows, and works by other artists; on occasion it has also traversed his young daughter or run out the gallery door into the street. Yet the simplicity of Krasinski's Buren-like proposition--to run the tape "everywhere and onto everything in a horizontal direction"--belies a grander ambition: to figure the connection between people and things. The aesthetic experience offered by his line, in other words, bears both the limits and the promise of social imagining. The roughly fifty installations and photographs in this show offer a retrospective look at such connections forged by the artist, who died in 2004.--Blake Stimson

COLOGNE

Jutta Koether

KOLNISCHER KUNSTVEREIN

May 26-August 18

Curated by Kathrin Rhomberg

With the renewed interest in the Cologne art scene of the '80s and '90s, it was only a matter of time before Jutta Koether, one of its most adventurous figures, finally got her due. Comprising objects, painting, writing, and music, Koether's oeuvre still feels experimental, even after twenty-odd years. Little wonder that when offered an exhibition in her hometown she opted against a traditional retrospective. Instead, she will present two projects--a large black installation combining new and recycled paintings in the museum's theater, and, in response to the all-glass rooms on the ground floor, new color paintings mounted on glass partitions. The rest of the show's 150 works (produced between 1983 and 2006) will be displayed in the Kunstverein's peripheral spaces. A catalogue includes texts by critics Diedrich Diederichsen and Isabelle Graw, among others. Travels to Kunsthalle Bern, Jan. 19-Mar. 11, 2007.--Bob Nickas

BADEN-BADEN

Stephan Balkenhol

STAATLICHE KUNSTHALLE BADEN-BADEN

July 15-September 17

Curated by Matthias Winzen

In the '70s, Stephan Balkenhol overlaid the question of figuration and the body with a spare, Conceptualist aesthetic, which has since resulted in an oeuvre both wry and serious. Eschewing the expressionist tone seen elsewhere in German art, such as that of Georg Baselitz, Balkenhol's provocative disjunctions between the scale of figure and plinth consistently belie the ostensible narrative ordinariness of his men and women. This retrospective features some forty of the artist's sculptures from the late '70s to the present, together with about one hundred photographs and drawings, many of which are being exhibited for the first time. Travels to the Museum Kuppersmuhle fur Moderne Kunst, Duisburg, Germany, Sept. 28-Dec. 3.--Michael Archer

GRONINGEN, NETHERLANDS

Marc Quinn

GRONINGER MUSEUM

April 29-August 27

Curated by Sue-an van der Zijpp

What form should portraiture take in the twenty-first century? As this show of thirty recent works by Marc Quinn ought to demonstrate, the human form is multifariously definable: Bronzes cast from chunks of animal meat have us as raw corporeality waiting for the slab; in his "DNA Portraits," the artist schematizes identity into bacterial colonies in agar jelly using samples of human genomes; white marble representations of the physically handicapped challenge traditional conceptions of heroism and beauty. The last's ironic interplay with damaged classical sculptures will no doubt be explored by van der Zijpp and critic Rod Mengham in their catalogue essays. It is perhaps fortunate, though, that there will likely be no one around in several millennia to ponder Quinn's brand-new bronzes--one of which is due to be unveiled in this show--of Kate Moss in yoga poses.--Martin Herbert

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OSLO

Knut Asdam

ASTRUP FEARNLEY MUSEUM OF MODERN ART

May 6-September 3

Curated by Grete Arbu, Gunnar B. Kvaran, and Hanne Beate Ueland

Knut Asdam's projects from the past fifteen years range from work in which almost nothing is hidden to that in which concealment is the theme. The video Untitled: Pissing, 1995, is an up-close view of a man wetting his pants, while Psychasthenia 10 Series 2, 2000-2001, a silent slide projection of anodyne housing projects at night, is screened within a chamber of black felt and summons Roger Caillois's link between insect camouflage and the schizophrenic experience of urban spatial assimilation. These works, and roughly a dozen others in film, video, and photography as well as installations, are included in this small mid-career retrospective in the artist's native country. Two recent films, Filter City, 2003, and Blissed, 2005, round out the selection and extend Asdam's interest in the muddling of phenomenological boundaries.--Lisa Pasquariello

STOCKHOLM

Paul McCarthy

MODERNA MUSEET

June 17-September 3

Curated by Magnus af Petersens

"Head Shop/Shop Head" is the title of Paul McCarthy's forthcoming survey, but "head shop" is more than an apt metaphor for any venue displaying the artist's subversive paraphernalia and psychic landscapes, which have grown increasingly spectacular in recent years. It is also literal: McCarthy's shop has long produced actual heads, both as sculptures and performance props. While last year's exhibition at Munich's Haus der Kunst highlighted the much-anticipated "Western" and "Pirate" projects, this show promises the most comprehensive overview of the artist's career to date, with a complete archive of some sixty videos and thirty other pieces (including many of the aforementioned heads), as well as new works based on early Conceptual propositions. Iwona Blazwick, Thomas McEvilley, and curator Petersens contribute essays to the catalogue.--Rachel Kushner

SYDNEY

Biennale of Sydney

VARIOUS VENUES

June 8-August 27

Curated by Charles Merewether

Global fusion is the default biennial theme these days. But for Australian society--an international stir-fry in an Anglo-Celtic broth--blending flavors has been a way of life for most of the past century. Curated by intermittent Australian Charles Merewether, the fifteenth Biennale of Sydney, titled "Zones of Contact," takes as its conceptual foundation the seemingly inexhaustible topic of sociocultural exchange. Merewether, an art historian who has taught at universities in Sydney, Barcelona, and Mexico City, is a senior fellow at the Centre for Cross-Cultural Research at the Australian National University. Assembled by such a seasoned boundary rider, this biennial features strong Middle Eastern, Baltic, Eastern European, and Asian components alongside sympathetic Western fare--a city-wide smorgasbord spread over sixteen sites and venues.--Jeff Gibson