Few artists encapsulate the story of the early twentieth-century avant garde more alluringly than Constantin Brancusi. Featuring just eleven sculptures, the MoMA exhibition offers an elegantly concise introduction to Brancusi’s art.

For the past decade, Diane Burko's striking studies of natural landscapes have been preoccupied with the effects of climate change on the earth's surface.

In its eclecticism, curator Darren Clarke has achieved a magpie’s collection that is true to the flamboyance and invention of Woolf’s novel. The exhibition sets out to demonstrate the novel’s relevance today, but it’s the pieces relating to the book’s historical background that prove the most engaging.

There is nothing that this giant of nineteenth-century French painting cannot do with color. If his art is uneasy, it’s because his color is never easy. He flirts with chromatic chaos. He yearns for chromatic catharsis.

There are one hundred and forty objects in the show, including jewelry and reliquaries, as well as church models, illustrated manuscripts, and textiles for liturgical use; they range from the fourth to the seventeenth centuries and represent the different regions Armenians inhabited.

Two exhibitions at the New York Public Library’s Schwarzman Building, “Blue Prints” and “Anna Atkins Refracted,” celebrate Anna Atkins' astonishing historical achievement: the first book of photography.

The Royal Academy's “Oceania” exhibition is not the historical, ethnographic show that Western museum-goers might expect. Its focus is not on Western expeditions but on the indigenous art of the diverse island cultures themselves.

Walton Ford makes paintings of paintings of animals. He is never interested merely in the natural world, but in the way humans have documented, exploited, and repurposed it, and how these species have been mythologized, even as most of them have disappeared from the wild.

In 1830 a farmer’s plow scraped the lid of the box containing the cache, and the Berthouville Treasure came to light. Newly restored by the Getty Museum, the silver splendors of this Gallic shrine can be seen in a sumptuous exhibition at New York’s Institute for the Study of the Ancient World.

In a retrospective now at the Jewish Historical Museum in Amsterdam, which includes 150 photographs from before and after World War II, one can see how sincerely Chim believed that photography, by influencing public opinion, could help change the world.

Beyond bringing French photography to the American public, Stettner’s own work was distinctive for blending the social engagement of American street photography with the poetic sensibility of the French humanist tradition.

Mimesis: African Soldier, a video installation at the Imperial War Museum in London by the British artist and filmmaker John Akomfrah, gives poetic expression to the sense of rewards due yet withheld.

Two of the most beguiling musical events in England this autumn are linked by one group, the Nash Ensemble of London, and one woman, its founder Amelia Freedman. The Bath Mozartfest opens at the Assembly Rooms, and "German Romantics" continues at Wigmore Hall.

In tandem with presenting queerness as a category of experience and identity in art, the Whitney show gives us an insight into the young Warhol: Andy with a sketchbook, Andy the fan, the fashion Andy, Andy the ardent youth dreaming a life of style and erotic possibilities.

With over a hundred photographs, “Sally Mann: A Thousand Crossings” is organized in five sections—Family, The Land, Last Measure, Abide With Me, and What Remains. Mann’s photographs of the American South move from the individual to the historical and back again, from the landscape to the people who inhabit it, to create a portrait of the evocative geography that is Mann’s home.

Christian Pezold, Ugo Tognazzi, and Jacques Tourneur are all celebrated this month with retrospectives. Sydney Pollack's long-lost documentary of Aretha Franklin live, showing for just one week, is not to be missed.

Puccini's last opera finds new life in the hands of Robert Wilson in a new production in Madrid. Wilson uses almost no sets, relying on light for effect. This spare setting highlights the eerie beauty of Puccini's fairy tale.