The 1,590 papers and 19 objects—some disturbing, some mysterious and others creepily idyllic—that German conceptual artist Hanne Darboven (1941-2009) exhibited in 1983 are now on view at Dia:Chelsea.

Barbara Grover's new series of photographs documenting hunger in America are being shown in an immersive, participatory exhibit hosted in an expandable trailer that travels from city to city.

Although drawn to abstraction, Vanessa Bell was adamant that her art needed some element of figuration, saying that 'the reason I think that artists paint life and not patterns is that certain qualities of life, what I call movement, mass, weight, have aesthetic value.'

Unlike Monet, Camille Pissarro preferred canvas sizes intended to appeal, in their modesty, to the private collector, rather than to bid for public glory.

The possibilities offered by red-figure vase painting intrigued the masterful fifth-century Athenian artist known as the "Berlin painter," who expanded the black background of his vases and diminished their red subjects to single, static figures.

Everything in Sara Berman's closet, now installed at the Met, is white and beige and simple and beautiful and funny and beautifully organized.

In many prints on display at the Japan Society, male youths are almost impossible to distinguish in dress and deportment from the female beauties in the same pictures.

The video artist Bill Viola has returned again and again to Florence to refresh his ideas, keeping up a long-running engagement with the work of the old masters.

After he based himself at Éragny in his mid-fifties, Camille Pissarro started butting his canvases with tiny hog-brush flecks of hues that restaged the retina’s primal encounters with light.

A retrospective of Lygia Pape's work at the Met Breuer is highly conceptual but never loses a deep connection with the visceral realities of daily life.

Howard Hodgkin’s paintings burn into eyes and minds, leaving a trace behind the eyelids, a memory to which we can return. Their voices collide, tumble, whisper, sing, shout.

The Chinese have a better claim than most people of being heirs to a unified culture that began roughly in the third century BC. This idea forms the basis of the fascinating exhibition at the Metropolitan Museum of Qin and Han dynasty artifacts.

The razzle-dazzle exhibition “The Jazz Age: American Style in the 1920s,” attempts to define the elusive word at its heart.

The objects of Matisse's daily life delighted, inspired, or confounded him, in their humble ordinariness and in all that they evoked.

Jamel Shabazz's photographs of New York street life are usually the result of consent, not a furtive snapshot—so people comport themselves with a bright, willful crispness, rising to the aesthetic occasion.

The photographs Henri Cartier-Bresson took in India between 1947 and 1980 are quiet, self-effacing, and resolutely static. Even when he shoots in crowds, as he does at a cattle sale, there is little sense of movement or noise.

Irving Penn's finest portraits prompted his subjects into remarkable revelations through posture and facial expression.

Raymond Pettibon's drawings show the travails of a complex man haunted by private conflicts and quick to answer the voices in his head.

A show of recent work from Joan Jonas — an influential, eighty-one-year-old artist who divides her time between New York and Nova Scotia — surveys her restless and eclectic career.

Diane Arbus took her New York park photographs during the day, but the figures they show sometimes look like creatures you’d expect to find at night.

In Lynette Yiadom-Boakye’s seventeen unframed portraits of black people, the paint continues to the edges of each canvas. There are no titles or wall texts beside them; with one exception, they are all of one person or of one person and a cat or a bird.

Curator Andrew Bolton, in collaboration with Kawakubo, has selected nearly 150 pieces—which vary from large, sculptural dresses to intricate and often elaborate multi-textured works— from throughout her career.

In her Jazz Age paintings, Florine Stettheimer conveyed a sophisticated self-awareness of the confining assumptions facing a hardworking woman artist between the wars.

At this time of year opera leaves London for the shires, and the phenomenon known as country-house opera begins.

A new show at the Andrew Freedman Home featuring art by previously or currently incarcerated artists demonstrates the diversity of artistic forms and expressions that have emerged within prison settings.

Three outstanding exhibitions in England—and two more shows to come—suggest the richness and range of the Royal Collection.

An exhibition at the National Gallery of Art surveys nineteenth-century America's evolving taste for the French painting of the previous century.

Few have the expertise to say why WWI was or wasn’t worth fighting. The war itself, though, is vividly, viscerally remembered through a series of images, stories, and rituals.

A new exhibition at the Art Institute of Chicago surveys Saul Steinberg's electrifying work.

June brings us Agnes Varda, D.A. Pennebaker’s Monterey Pop, Vittorio De Sica's Il Boom!, and more...

Ernst Lubitsch created not only a style but a place, his imaginary homeland; in his films we are always looking back toward some long-lost capital city of joy.

Derain, Balthus, and Giacometti were determined to revisit the relationship between art and reality following the revolutions of early-twentieth-century artists. They wanted to discover a new, moonlit truth.

The Morgan has brought together nearly one hundred relics of this American saint, including the small green desk on which he wrote most of his life work, the flute with which he enchanted Margaret Fuller and other humans and nonhumans alike, as well as more than twenty of his Journal notebooks.