• Juan Muñoz, Conversation Piece (detail), 1996, dimensions variable. Photo: Luis Asin Image.

    Juan Muñoz

    Guggenheim Museum | Bilbao
    Avenida Abandoibarra, 2
    May 27–September 28, 2008

    Tate Modern
    January 24–April 27, 2008

    Serralves Museum of Contemporary Art
    Rua Dom João de Castro, 210
    October 31, 2008–January 18, 2009

    Curated by Sheena Wagstaff

    Juan Muñoz, who died prematurely just a few weeks after his installation Double Bind opened in Tate Modern's Turbine Hall in 2001, described his activity as that of a storyteller. Inspired by a deep curiosity about the world, his work too many forms—illusionistic perspectives of patterned floors; chalk drawings of rooms and doorways; balconies providing a detached, but still engaged, viewpoint; statues of dwarfs, prompters to the play of life; sound works; performances; and, of course, those conversational groups of figures with laughing Chinese faces. The full range of his practice will be represented in this major show of more than ninety works, including several that have not been previously exhibited. Travels to the Guggenheim Bilbao, Spain, May 27–Sept. 28; Museu de Arte Contemporânea de Serralves, Porto, Portugal, Oct. 31, 2008–Jan. 18, 2009.

  • Peter Doig, Reflection (What Does Your Soul Look Like?), 1996, oil on canvas, 116 x 78 3/4".

    Peter Doig

    Schirn Kunsthalle Frankfurt
    July 25, 2013–January 11, 2009

    Tate Britain
    February 5–April 27, 2008

    Musée d'Art moderne de la Ville de Paris
    11 avenue du Président Wilson
    May 26–September 14, 2008

    Curated by Judith Nesbitt

    Peter Doig coaxes a languid air from tremulous surfaces, and this may make him closer to the painters of the 1890s than to those of the 1990s, the decade in which he emerged. His slow unspooling of color and the ambling specificity of his touch are easily lost in reproductions but will be abundantly evident in this survey of more than fifty paintings and related drawings from the past two decades. The catalogue features essays by Tate Britain's Judith Nesbitt and art historian Richard Schiff, supplemented by an ample selection of Doig's photographic sources, which promises to reveal the true extent of his painterly transmutations. Travels to the ARC/Musée d'Art Moderne de la Ville de Paris, May 26–Sept. 14; Schirn Kunsthalle, Frankfurt, Oct. 8, 2008–Jan. 11, 2009.

  • Donelle Woolford. Photo: Namik Minter and Frank Heath.

    “Double Agent”

    ICA - Institute of Contemporary Arts, London
    The Mall
    February 14–April 6, 2008

    Curated by Claire Bishop and Mark Sladen

    Despite the title, put aside thoughts of espionage. In the sense intended by the ICA's Mark Sladen and guest curator Claire Bishop—who has written eloquently on participatory aeshetics for this magazine and elsewhere—“double agent” instead connotes “doubled agency.” Reflecting the thematic hook of “art in which the artist uses other people as a medium,” this exhibition will be a roll call of key players: Pawel Althamer, Phil Collins, Dora García, Joe Scanlan, Barbara Visser, Artur Zmijewski, and theatrical firebrand Christoph Schlingensief—and behind them, a shadow squad of auxiliary producers. Expect the most sociable of shows, then; but beyond foregrounding an increasingly decentered approach to artmaking, “Double Agent” will likely be a stringent look at the ethical responsibilities (and questions of representation) that arise when the artist refuses to go it alone.

  • Cornelia Parker, Meteorite Lands on Buckingham Palace, 1998, maple-box-framed map of London and burn left by meteorite, 21 1/4 x 27 1/6".

    “Martian Museum of Terrestrial Art”

    Barbican Art Gallery
    Barbican Centre Silk Street
    March 6–May 18, 2008

    Curated by Francesco Manacorda and Lydia Yee

    The opening chapter of Thierry de Duve's 1998 Kant After Duchamp—which inspired this offbeat group show—is a rare example of art theory as seen through the eyes of a Martian anthropologist. Here, that approach gets refashioned as a curatorial principle: Aliens, we're told, have acquired some 150 works by practitioners as diverse as Cai Guo-Quiang, Thomas Hirschhorn, and Cornelia Parker, and have categorized their artifacts according to presumed function rather than the earthly codifications of contemporary art. This sculpture-dominant exhibition—a quixotic synthesis of H.G. Wells and Marcel Broodthaers—is propelled by serious intent, however. According to the curators, the misprision of the show will reflect how Western anthropology has assessed non-Western cultures, turning the tables by imposing otherness on our own.