Curated by Clément Chéroux and Angela Lampe

As perhaps no other painter of his generation, Edvard Munch (1863–1944) gave radically innovative form to the traumas of the modern psyche. That he did so in perfect sync with the dawning media age in which he lived is the intriguing premise of one of the largest Munch exhibitions ever assembled in France. Including some 140 diverse works of painting, drawing, photography, film, and sculpture, this exhibition explores Munch’s later career, his twentieth-century output. An unexpected agility with the camera and a propensity for filmic and theatrical poses in his paintings underscore his enthrallment with the period’s new image technologies.

— André Dombrowski

Curated by Nicholas Serota and Mark Godfrey

A decade after MoMA’s much-contested but hugely popular Gerhard Richter retrospective, Tate Modern curators Nicholas Serota and Mark Godfrey, in a departure from the 2001 exhibition’s painting-only approach, will survey the German artist’s career by looking chronologically and comprehensively across a half century of practice. Including, in addition to paintings, a selection of drawings and photographs, as well as the largest assortment of Richter’s glass works ever assembled, the show will also be the first outside Germany to present the monumental Stroke, his sixty-five-foot-long painting of a single gestural mark completed for a German school in 1980. Organized with an eye to the distinct historical contexts and diversity of aesthetic modes in which Richter has worked, “Panorama” promises a new look at the artist just in time for his eightieth birthday in February.

— Graham Bader

Curated by Christine Macel and Emma Lavigne

Taking inspiration from Isadora Duncan’s proclamation “From the first I have only danced my life,” this exhibition offers a historical look at the ways dance and visual art have informed each other since Muybridge first captured motion on film. Nearly one hundred artists will be represented here, from Kazuo Shiraga to Kelly Nipper, with their works—sketches, photo, film, and video—organized by the curators into three “acts”: self-expression and emancipation, bodily abstraction and kinetic form, and the body as event or social sculpture. There will be live performance, too, including a restaging of Felix Gonzales-Torres’s “Untitled” (Go-Go Dancing Platform), 1991, and a new installation by Tino Sehgal, as well as pieces by Davide Balula, Trisha Brown, and Alex Cecchetti. A catalogue and edited reader with texts by Alain Badiou and Giorgio Agamben will accompany the show.

— Catherine Wood

Curated by the Jeu de Paume

She died too young, she lived too off-kilter, and her work was too sensationalized. From the beginning, Diane Arbus (1923–1971) made images that became as well known for what they depicted as for the controversy her acts of depiction inspired—debates about the “ethics” of photographing others so apparently other. But why shouldn’t we take interest in others, and they in us? Why not stare in wonderment, as Arbus did, at the human freak show by which we’re surrounded, indeed that also includes us? Now that the years have passed and photography has become something else, it is time that Arbus’s peculiar, uncomfortable genius be recognized in France. At long last this fall, more than two hundred of the American photographer’s works will go on view at the Jeu de Paume.

— Carol Armstrong