The Tate press packet calls Katharina Fritsch “one of the most important artists to have emerged from Europe in the last twenty years”; still, she remains something of a critical enigma. Her familiar forms, derived as much from Disney gift shop as medieval reliquary, exert broad appeal, but the purported accessibility can be deceptive. Shifts in scale and hue, single motifs such as the ubiquitous Madonna proliferated into mountains of replicas—these are her means of reenchanting the generic object. Or is it the other way around? Interpretations are split, which might be the point since value and faith are here intimately bound up. Organized by Iwona Blazwick and Susanne Bieber, this show comprises nineteen works realized since 1979.

— Jan Tumlir

Thanks to recent scholarship, Alberto Savinio has done some catching up to older brother Giorgio de Chirico. Now this show pits the two in fraternal contrast. Savinio wins as multitalented Renaissance man—composer, novelist, critic, stage designer, and, from the ’20s on, painter of enigmatic and elusive metaphysical works. De Chirico is well represented with work from 1908 to the ’30s, and Savinio’s case is made with thirty paintings, often prophetic with respect to imagery and movements occurring long after his death in 1952. The show is selected by Paolo Baldacci, Wieland Schmied, and longtime Savinio-ist Pia Vivarelli.

— Richard Shone