• Juan Muñoz, Hotel Declercq, 1986.

    Juan Muñoz, Hotel Declercq, 1986.

    Juan Muñoz

    The Art Institute of Chicago
    111 South Michigan Avenue
    September 14–December 8, 2002

    Contemporary Arts Museum Houston
    5216 Montrose Boulevard
    January 24–March 30, 2003

    New Museum
    235 Bowery
    April 21–July 28, 2002

    Hirshhorn Museum and Sculpture Garden
    Independence Avenue at Seventh Street, SW
    October 18–January 13, 2001

    Juan Muñoz’s series of cast-resin and bronze tableaux occupied a full floor of the Dia Center in New York in 1996–97, but the Hirshhorn exhibition comprises the Spanish sculptor’s first career survey in the States. It also takes on added poignancy in the wake of the artist’s untimely recent death at the age of 48. A cluster of Borgesian tropes—the balcony, the trompe l’oeil floor, the dwarf—run through Muñoz’s strange theatrical settings, featuring figures enigmatically assembled as if for conversation. The catalogue to the exhibition, which includes work made since the mid-’80s, includes essays by Art Institute curator Neal Benezra, Hirshhorn curator Olga Viso, and critic Michael Brenson.

  • Alberto Giacometti,Portrait of Jean Genet, 1954-55.

    Alberto Giacometti,Portrait of Jean Genet, 1954-55.

    Alberto Giacometti

    MoMA - The Museum of Modern Art
    11 West 53rd Street
    October 11, 2001–January 8, 2002

    Paris has already celebrated the centenary of Giacometti’s birth this year with a superlative show at the Centre Georges Pompidou that concentrated on his drawings. Now comes the full retrospective—190 sculptures, paintings, and works on paper—organized in conjunction with the Giacometti Foundation and the Kunsthaus Zürich (where it debuted last spring). The selection looks faultless, with an all-out focus on the early Surrealist-influenced sculpture; the inclusion of later masterworks such as the spectral painting of Jean Genet (1954–55); and not too much bronze anorexia. The existential chic of the later figures may at times be unrewarding, and repetition can narrow rather than widen the gap between Giacometti and, say, Bernard Buffet. But stifle that yawn; there are surprises in store.

  • Michael Snow, Two Sides to Every Story, 1974.

    Michael Snow, Two Sides to Every Story, 1974.

    Into the Light: The Projected Image in American Art, 1964–1977

    Whitney Museum of American Art
    99 Gansevoort Street
    October 18, 2001–January 27, 2002

    Whatever hope film and video work have for artistic excellence depends on addressing questions specific to the medium—both visual and spatial. Curator Chrissie Iles brings together nineteen seminal works that first posed such questions in the ’60s and ’70s, including pieces by Bruce Nauman, Dan Graham, Andy Warhol, Michael Snow, and Yoko Ono. Projected film and video is a hot topic today, its nature and status much contested. Rasters and reception, broadcast and projection, phenomenology and opticality: Theories about this art have been at once raw and pretentious, much like the medium itself. This exhibition should provide the perfect occasion to think it through from scratch.

  • Altarpiece (detail), 18th Century.

    Altarpiece (detail), 18th Century.

    Brazil: Body and Soul

    Guggenheim Museum | Bilbao
    Avenida Abandoibarra, 2
    June 29, 2002–January 1, 2003

    Solomon R. Guggenheim Museum | New York
    1071 Fifth Avenue
    October 19, 2001–May 29, 2002

    The Guggenheim’s done China. It’s done Africa. But if Brazil sounds a tad more manageable, it’s still quite a lot to fit into one exhibition: four centuries of art and culture represented by 350 items ranging from Dutch depictions of the Brazilian landscape, Amazonian feather capes, and a monumental Baroque altarpiece to Neo-Concrete objects by Hélio Oiticica and Lygia Clark and works by contemporary artists like Ernesto Neto. Organized by an international team led by Edward J. Sullivan, the exhibition aims to show visual art in the context of performance, music, and ritual. Get ready to samba up the spiral.

  • The Muriel Lake Incident, 1999.

    The Muriel Lake Incident, 1999.

    Janet Cardiff

    Musée d'Art Contemporain de Lyon
    Cité Internationale 81 quai Charles de Gaulle
    July 19, 2013–September 8, 2002

    MoMA PS1
    22-25 Jackson Avenue at 46th Avenue
    October 14–January 31, 2001

    Canadian artist Janet Cardiff is best known for her works in which participants don headphones for what are essentially self-guided tours (cued by the sounds and voices on the CD visitors listen to) of the specific places, often outdoors, for which the works were made. In them, present and past, reality and fiction, mingle, overlap, and sometimes conflict. For her first survey exhibition, the artist and P.S. 1 senior curator Carolyn Christov-Bakargiev present such pieces away from their original settings. But Cardiff also has more conventional indoor installations to show and a new site-specific work for the occasion.

  • Alfred Jensen, Remote Sensing, Per I & II, 1979.

    Alfred Jensen, Remote Sensing, Per I & II, 1979.

    Alfred Jensen: Concordance

    Dia Center for the Arts
    542 West 22nd Street
    September 19, 2001–June 16, 2002

    Who was Alfred Jensen (1903–81)? A geometric abstractionist, you say? But his trademark grids of tiny, brightly colored triangles and squares are so heavily impastoed that, from ten feet away, the geometry wiggles like a desert horizon. An atelier mystic, à la Mark Tobey or Morris Graves? Hardly: The “esoterica” on which Jensen draws includes math and physics as well as Chinese and Mayan calendrical systems. Perhaps Dia’s season-long dozen-painting exhibition—which includes the never-before-publicly-exhibited Great Pyramid, 1979, a twelve-panel masterpiece considered the artist’s last major statement— will provide an answer.

  • Hélio Oiticica, Neyrótika, 1973.

    Hélio Oiticica, Neyrótika, 1973.

    Hélio Oiticica: Quasi-cinemas

    Wexner Center for the Arts
    The Ohio State University 1871 North High Street
    September 18, 2001–December 30, 2002

    Kölnischer Kunstverein
    Die Brücke Hahnenstraße 6
    February 16–April 4, 2002

    New Museum
    235 Bowery
    July 26–October 13, 2002

    In this survey organized by the Wexner and coproduced by the Kölnischer Kunstverein and the New Museum in New York, curator Carlos Basualdo focuses on Hélio Oiticica’s “quasi-cinemas,” photo-based work like the “Block-Experiments in Cosmococa”— projected images of pop figures (Monroe, Hendrix, Buñuel) superimposed with drawings executed in cocaine. The Brazilian Conceptualist’s only film, Agripina e Roma Manhattan, and the slide show Neyrótika, shot in New York, are also being screened. The catalogue offers essays by Basualdo, Brazilian film historian Ivana Bentes, and New Museum senior curator Dan Cameron as well as little-translated writings by the artist.

  • Theresa Hak Kyung Cha, Aveugle Voix (blind voice), 1975.

    Theresa Hak Kyung Cha, Aveugle Voix (blind voice), 1975.

    Theresa Hak Kyung Cha

    Berkeley Art Museum and Pacific Film Archive (BAMPFA)
    2155 Center Street
    September 12, 2001–December 16, 2002

    University Art Gallery, University of California

    January 15–March 3, 2002

    The Bronx Musuem of Art
    1040 Grand Concourse at 165th St.
    April 4–June 16, 2002

    Though Theresa Hak Kyung Cha’s artist’s book–cum-novel Dictee commands cultlike enthusiasm to this day, her visual work remains largely unknown. Now, twenty years after her murder, this full retrospective provides an overview of Cha’s lyrical oeuvre. The performance artist, filmmaker, poet, and sculptor investigated geographic exile and linguistic displacement, drawing on influences from feminist psychoanalytic theory to Catholicism and Korean history. A catalogue with essays by Lawrence Rinder, Trinh T. Minh-ha, and curator Constance Lewallen is planned.