Just north of Chelsea, the largest private real estate development in the United States is rising at last. Why does no one seem to notice?
by Jacob Moore
by Kanishk Tharoor
The Louvre Abu Dhabi, open at last, stands to upend everything we know about museums — and about democracy. Who is it for?
Fortress of Solitude
by Lauretta Charlton
When the National Museum of African-American History and Culture opened last fall, the Obama presidency seemed a kind of apotheosis. In Trump’s Washington, the museum’s mission seems more urgent, and more fragile
House of Treasures
by Max Nelson
Wonderstruck, Todd Haynes’s kid-friendly new film, rambles through the Natural History Museum. As in all his melodramas, everything hinges on the rules of display
From Issue 8
The Season Finale
by Kyle Chayka
“What to make, then, of the new Four Seasons, scrubbed clean after a $33 million renovation and rechristened as two separate restaurants, The Grill and The Pool? I started a recent evening there in the Pool, where a new bar has been carved out of a former private room and a captain in a dramatic white Tom Ford dinner jacket clucked over its few guests. The post-restoration vibe here is decidedly Seaworld.”
The Old Curiosity Shop
by Lauren Elkin
“In my first Paris years, I kept noticing a particular kind of French store that seemed to thrive on selling tchotchkes: salad servers with manga characters on them, sponge-holders shaped like beagles. Colette is a more upscale version of these shops — and, in its commitment to selling people cutesy bits of ephemera they don’t need, Colette belongs to the great French tradition of the magasin de nouveautés.”
Within a Budding Grove
by Emil Leth Meilvang
“The direct integration of scientists in a museum can’t avert the fact that uncritical appraisal of biology, physics, and newer disciplines depends on a major cultural asymmetry. After all, we in the art world can get away with a hazy understanding of gene splicing or geoengineering — but can you imagine how quickly our doors would slam shut if a scientist thought she could curate a biennial or rehang a collection?”
Counsel for the
Rencontres de Bamako
Musée national de Mali
From December 2
Few places have a photographic tradition with as strong a national signature as Mali, where portraitists such as Malick Sidibé and Seydou Keïta inspired a whole generation of camera artists. This 11th edition of Africa’s most important photography show includes two artists featured in this magazine: the French-Algerian polymath Neïl Beloufa and the South African photographer Michael McGarry.
Statens Museum for Kunst, Copenhagen
From December 7
Known for her abstract, minimal sculptures of the domestic and the mundane, the German-Iranian artist debuts her first Scandinavian solo with site-specific work, featuring vast opalescent shapes perched on elongated, gleaming legs. Long interested in the dominion of space, from homes to orifices, her pieces are quiet and contemplative in their revelations, more felt than observed.
Museu de Arte de São Paulo
From December 15
Beyond the erotics, Tunga was among the most erudite of sculptors; he called his studio a “Pensatorium,” and yet his art always refused the show-and-tell, read-the-wall-text-first allusions too common at fairs and biennials today. There might be something salutary in looking again at his beguiling sculpture, and embracing an art that starts with the body but ends in the mind.
Triennale di Milano
From December 15
Let’s get real: could the depressive German choreographer Anne Imhof have won the Golden Lion at this year’s Venice Biennale without Owens, whose slouchy black schmattas have become a uniform for a generation of shiftless youth? This retrospective, during Milan’s fashion week, is set to showcase the Californian designer’s often brutal clothing, as well as furniture designs.
From Issue 8
An interview from issue 8
“The Getty Villa is paradise, but it’s also utterly fake. When I came to California, none of the materials that I would find on the side of the road were anything but garbage, really. Performance became a way to invest those objects with a history.”