This summer, sixteen years after he transformed the Turbine Hall, Olafur Eliasson has returned to Tate Modern with a retrospective exhibition, “In Real Life,” that ranges from his student days to special installations tailored to the occasion.

The Philadelphia Museum of Art has on long-term view a wonderful exhibition entitled “Horace Pippin: From War to Peace,” which brings together the museum’s small but choice collection of his work. How powerful Pippin can be is on full display in The Getaway (circa 1938–1939), though the artist’s assurance may be hidden at first by his inauspicious subject.

Two operas are the subject of “Verdi: Creating Otello and Falstaff,” a gem of an exhibition at the Morgan Library and Museum. Curated by Gabriele Dotto, the former director of publishing at Ricordi, Verdi’s publishing house, it affords an engrossing glimpse of the vast collaborative effort required to bring an opera into the world.

The Blake exhibition at Tate Britain, the first major exhibition in nearly twenty years, shows 300 of his prints and paintings, with manuscripts and printed books, gathered from galleries and libraries across the world.

A more ambitious interdisciplinary survey of the black model—male and female—in French painting, sculpture, and photography from neoclassicism to Matisse, addressing the place of black and mixed-race artists, writers, musicians, and performers in French culture over more than 150 years.

In 2019 attention has finally been paid to Andrea del Verrocchio with two splendid exhibitions, each accompanied by an ambitious catalog.

There are two stories, one might say, being told at the American Folk Art Museum’s current show "Memory Palaces: Inside the Collection of Audrey B. Heckler."

"To Fix the Image in Memory" lures us into committing energy and interest to something we are fated to forget. But the artwork leaves us with a lasting sense of possibility, an awareness of the largely unnoticed richness of the world.

A sense of excitement defines the Science Museum's show, “The Art of Innovation: From Enlightenment to Dark Matter,” as visitors zig-zag through 250 years of art and science.

The life-size recreation of Vienna's Fledermaus bar—by teachers, students, and archivists at the University of Applied Arts in Vienna—is undoubtedly the pièce de résistance of "Into the Night: Cabarets and Clubs in Modern Art."

When you walk into "Baptized by Beefcake: The Golden Age of Hand-Painted Movie Posters from Ghana," an exhibition now at New York City’s Poster House, you are confronted by the stares of film heroes of the late Eighties and early Nineties—each with a distinctly Ghanaian rendering.

The year ends with tributes to Agnès Varda and Jonas Mekas, a survey of nonfiction films at MoMA, and J. Lee Thompson's 'Cape Fear.'