• Cy Tombly, The Four Seasons: Spring, Summer, Autumn, Winter (detail), 1993–94, one of four paintings in acrylic, oil, caryon, and pencil on canvas, each 10' 3 7/16“ x 7' 5/8”.

    Cy Twombly

    Guggenheim Museum | Bilbao
    Avenida Abandoibarra, 2
    October 28, 2008–February 1, 2009

    Tate Modern
    June 19–September 14, 2008

    Galleria Nazionale d'Arte Moderna e Contemporanea
    Viale delle Belle Arti 131
    March 4–May 17, 2009

    Curated by Nicholas Serota

    Cy Twombly, Sol LeWitt, Andy Warhol, Donald Judd, Yves Klein, and Arman all entered the world in 1928—an annus mirabilis for art history. Of these artists, only Twombly celebrated his eightieth birthday this year. With around a hundred works, the Tate's retrospective, organized by Nicholas Serota, should make plain that the triangle of Twombly, Johns, and Rauschenberg has always been equilateral; recognition of such status was long withheld in America, until the exceptional exhibition organized by the late Kirk Varnedoe for New York's Museum of Modern Art in 1994. It took another ten years (and a second Frenchman, after Roland Barthes, whose exquisite essays on Twombly appeared in 1979) for a scholarly work on the artist to approach its subject adequately, in Richard Leeman's 2004 monograph. Travels to the Guggenheim Bilbao, Spain, Oct. 28, 2008–Feb. 1, 2009; Galleria Nazionale d'Arte Moderna, Rome, Mar. 4–May 17, 2009.

  • Gregor Schneider, Haus u r, Rheydt, Germany, 1985.

    Gregor Schneider

    MACRO - Museo D'Arte Contemporanea Roma
    Via Nizza, 138
    May 29–August 31, 2008

    Curated by Danilo Eccher

    Since the mid-1980s, German artist Gregor Schneider has both dismantled and faithfully re-created the rooms of his house in Rheydt, Germany, placing them in public contexts to throw into question the concept of personal space. For this solo show, organized by Danilo Eccher, he will amplify his eerie game by adding a disorienting perceptual device. Part of a project in progress, the installation Double, 2008–, will take over four main rooms of this beer factory–turned-museum, which sports two identical wings. Here Schneider will reconstruct his family's bathroom and his grandparents' bedroom on either end of the venue to achieve a mirroring—and, no doubt, uncanny—effect. The accompanying catalogue, featuring documentation of Schneider's output so far, will be the most comprehensive publication on his work to date.