• Brassaï, Troglodyte, grotte à Véteuil, 1935, black-and-white photograph. © Estate of
    Brassaï/Réunion des Musées Nationaux (RMN), Paris.

    “One Image May Hide Another: Arcimboldo, Dalí, Raetz”

    Grand Palais
    3 avenue du Général Eisenhower
    April 8–July 6

    Curated by Jean-Hubert Martin and Dario Gamboni

    “One Image May Hide Another” takes as its subject the many artists of various periods who have, through their work, explored embedded or reflective meanings. Curators Jean-Hubert Martin, perhaps best known for his 1989 exhibition “Magiciens de la Terre,” at the Centre Pompidou, and Dario Gamboni, author of The Destruction of Art: Iconoclasm and Vandalism Since the French Revolution (1983), have assembled some 250 artworks for this ambitious exhibition. Presenting a visual and conceptual tour through composite, hidden, and reversible pictures, anthropomorphic landscapes, perspectival illusions, anamorphoses, and Rorschachs, Gamboni and Martin seek to plumb the illusionistic, symbolic, and psychological implications of the double image.

  • Andy Warhol, Brigitte Bardot (detail), 1974, diptych, acrylic and silkscreen on linen, each 47 3⁄4 x 47 3⁄4". © 2009 The Andy Warhol Foundation for the Visual Arts.

    “Warhol’s Wide World”

    Grand Palais
    3 avenue du Général Eisenhower
    March 18–July 13

    Curated by Alain Cueff and Emilia Philippot

    Andy Warhol’s entire operation—much like the diptych portraits to be included in this exhibition—was always a Janus-faced endeavor. Both the depth and face value of his work relied on binaries—before and after, ugly and beautiful—and the tension that ricocheted between the two. This survey will examine Warhol’s dalliances in the outmoded genre of commissioned portraiture, particularly during the 1970s and ’80s, when the aspirational Andy flattered the faces of the rich and famous, from Fiat mogul Gianni Agnelli to Brigitte Bardot. Recent attempts to rehabilitate late Warhol have focused on his worthier, October-approved output, transfixed by mortality (think skull paintings). Let’s hope this exhibition—whose title seems to embrace the expansive nature of Warhol’s practice—redresses the imbalance and brings new attention to the rigorously glamorous side of his enterprise.

  • Jimmie Durham, He said I was always juxtaposing. . . , 2005, mixed media, dimensions variable.

    “Jimmie Durham: Rejected Stones”

    Musée d'Art moderne de la Ville de Paris
    11 avenue du Président Wilson
    January 30–April 12

    Curated by Laurence Bossé and Julia Garimorth

    Jimmie Durham insists that we take nothing for granted. Language, objects, institutions—the base elements that constitute “the way things are”—are all held up to scrutiny, only to show us that things are also always some other way, too. With disarming humor but utter penetrative seriousness, he proffers (to paraphrase the artist) “interruptions to authoritative history,” the effect of which is to put everything into question, even the ground on which we stand. Where and what is Western art? And is “postcolonial” too glib a term to describe our present condition? On view will be some sixty of the videos, drawings, sculptures, and installations the artist has made since relocating to Europe from Mexico in 1994. Anselm Franke, David Hammons, and Anri Sala are among the dozen contributors to the accompanying catalogue.

  • Harun Farocki, Auge/Maschine (Eye/Machine), 2000, still from a color video, 23 minutes.

    “HF | RG”

    Musée National du Jeu de Paume

    April 7–June 14

    Curated by Chantal Pontbriand

    Taking a titular cue from Roland Barthes’s S/Z, guest curator Chantal Pontbriand offers an unlikely and provocative pairing in Harun Farocki and Rodney Graham and seeks to trace “the Archive, the Nonverbal, the Machine (dispositif), and Montage” as concepts integral to both artists. Though it’s tempting to cast German filmmaker Farocki as the “straight man” or documentary foil to Canadian Conceptualist Graham’s often comedic guises, each is a master of the intertextual and sardonic, promising to open up suggestive readings of the other’s work. A far-ranging selection of their previous pieces—including eight single- and multichannel videos from Farocki, and photographs, sculptures, and video installations by Graham—will complement new commissions. The accompanying catalogue is to include a text by Pontbriand, contributions by the artists, and essays for each angle of the show’s thesis.

  • Beatriz Milhazes

    Fondation Cartier Pour l'Art Contemporain
    261 boulevard Raspail
    April 3–June 21

    Curated by Hervé Chandès and Leanne Sacramone

    This miniretrospective will present a dozen large-scale paintings and collages by Brazilian artist Beatriz Milhazes, including a substantial piece made specifically for the exhibition—all doubtless rendered in her signature carnival colors. With the Boulevard Raspail and the institution’s Lothar Baumgarten–designed gardens as backdrop, Milhazes will transform the front and back glass facades of the Fondation Cartier’s Jean Nouvel building into a translucent spectacle of collaged adhesive film. Inside, expect a further profusion of ornamental pastiche: References to Brazilian colonial baroque and Neo-concretism collided at speed into elements of Constructivism, International Style, Art Nouveau, Pop, and psychedelia. Smaller-scale collages incorporate candy wrappers, shopping bags, and other scavenged, blingy bits, flirting between critique and celebration.

  • Man Ray, Emak Bakia, 1926, still from a black-and-white film, 19 minutes. © 2009 Man Ray Trust/ADAGP, Paris.

    “Hypnos: Contribution to a Visual History of the Unconscious, 1900–1949”

    Musée d'Art moderne de la Ville de Paris
    11 avenue du Président Wilson
    July 19–July 12

    Curated by Christophe Boulanger, Savine Faupin, Nicolas Surlapierre, and Lóránd Hegyi

    “Hypnos” sets out to make visible what the curatorial team calls “the encounter between the unconscious and modernity” by presenting some 250 works by roughly 100 artists, writers, filmmakers, and psychoanalysts from across Europe who variously sought to analyze, depict, and actualize aspects of unconscious thought and experience during the first half of the twentieth century. “Hypnos” will include a wide-ranging selection of materials—from texts by psychoanalyst Sándor Ferenczi to Spiritualist photographs, Sophie Taeuber-Arp’s Dada puppets to Fritz Lang’s films—organized in thematic groupings with reference to events that took place in Central Europe between 1900, the first publication date of Freud’s Interpretation of Dreams, and 1949, which witnessed the division of Germany.