• Jeff Wall, A view from an apartment, 2004-2005, transparency in light box, 65 3/4 x 96 1/8".

    Jeff Wall

    The Art Institute of Chicago
    111 South Michigan Avenue
    June 20–September 23, 2007

    MoMA - The Museum of Modern Art
    11 West 53rd Street
    February 25–May 14, 2007

    San Francisco Museum of Modern Art (SFMOMA)
    151 Third Street
    October 21, 2007–January 27, 2008

    Curated by Neal Benezra and Peter Galassi

    Given viewers’ tendency to cluster around the two Jeff Wall works on view at MoMA in the hang for its 2004 reopening (Milk, 1984, and After “Invisible Man” by Ralph Ellison, The Prologue, 2001), this retrospective of forty-one works, curated by Neal Benezra and Peter Galassi and co-organized by the San Francisco Museum of Modern Art, will likely be a smash. Coming fast on the heels of the European Wall survey organized by the Schaulager and Tate Modern, the show gives US museumgoers an opportunity to consider the artist’s development over the past three decades—and the timing and venue couldn’t be more apt: Wall’s light boxes engage issues of corporatism, which have bedeviled the Modern of late, while his art-historical reconfigurings sponsor another take on the modernism this museum helped define. Travels to the Art Institute of Chicago, June 20–Sept. 23; San Francisco Museum of Modern Art, Oct. 21, 2007–Jan. 27, 2008.

  • Karen Kilimnik, Little Red Riding Hood Vampire, 2001, water-soluble oil color on canvas, 20 x 16".

    Karen Kilimnik

    Museum of Contemporary Art, Chicago (MCA Chicago)
    220 East Chicago Avenue
    February 23–June 8, 2008

    Aspen Art Museum
    637 East Hyman
    December 14, 2007–February 3, 2008

    Institute of Contemporary Art, University of Pennsylvania
    University of Pennsylvania 118 South 36th Street
    April 20–August 5, 2007

    Curated by Ingrid Schaffner

    Karen Kilimnik’s trademark cocktail of ardor and acidity, camp figuration and dispersed installation, pop iconography and historical idioms (most recently, maritime painting and French Empire design) has exerted such a wide influence that this exhibition, her first major US survey, feels long overdue. Curated by Ingrid Schaffner with a generous selection of some eighty works made since the early 1980s—paintings early and recent, scatter pieces from the ’90s, heretofore rarely seen photographs and videos—plus an accompanying catalogue with essays by Wayne Koestenbaum and others, the show should help make up for lost time. Travels to the Museum of Contemporary Art, North Miami, FL, dates TBA; Aspen Art Museum, CO, Dec. 14, 2007–Feb. 3, 2008; Museum of Contemporary Art, Chicago, Feb. 23–June 8, 2008.

  • Rudolf Stingel, Untitled, 2000. Styrofoam, 120 x 96 x 2".

    Rudolf Stingel

    Museum of Contemporary Art, Chicago (MCA Chicago)
    220 East Chicago Avenue
    January 27–May 27, 2007

    Whitney Museum of American Art
    99 Gansevoort Street
    June 28–October 14, 2007

    Curated by Francesco Bonami

    In recent years, Rudolf Stingel has consistently pushed the concerns of painting beyond the canvas into architecture and into the interactive domain of audience participation. His installations of silver insulation panels are enormously elegant when they first appear—so elegant, in fact, that the public goes berserk. Leaving marks, wildly ripping down huge sections—at the artist’s invitation, of course—visitors participate to create new environments that radiate a kind of tragic splendor. The artist’s first retrospective in the US spans the past three decades with thirty-one sculptures and paintings, including a few silver panels and a recent series of large Photorealistic self-portraits. The catalogue, the first major study of Stingel’s work, features essays by curator Francesco Bonami, Chrissie Iles, and Reiner Zettl. Travels to the Whitney Museum of American Art, New York, June 28–Oct. 14.