Many people will leave “Sahel: Art and Empires on the Shores of the Sahara” so dazzled by examples of the region’s clothing and textiles that hang in the final room that they will miss one of its most powerful, albeit quiet pieces. It is also one of the most recent sculptural creations on view, and a final example of the transition to Islam from some of the traditions that it gradually supplanted.

The exhibition at the Morgan Library, “Jean-Jacques Lequeu: Visionary Architect,” currently alas shuttered, is based on a French show that opened in 2018. It is a little sparing on the erotica, and it is served only by the catalog of the French show, so the situation is not ideal. But it offers the best opportunity yet to begin to form an opinion of this singular artist.

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.