• Richard Hamilton, Lawrence Alloway, and Victor Pasmore, an Exhibit, 1957, acrylic, wire, paper. Installation view, Institute of Contemporary Arts, London. © Richard Hamilton Studio. © Artists Rights Society (ARS), New York/DACS, London. All Rights Reserved, DACS and ARS.

    Richard Hamilton

    Tate Modern
    February 13–May 26

    Curated by Mark Godfrey, Vicente Todolí, and Paul Schimmel

    Two years after Richard Hamilton’s death in September 2011, this exhibition at Tate Modern (and another at London’s Institute of Contemporary Arts, Feb. 12–Apr. 6) promises again to situate the Pop pioneer’s work at the center of British art. Encompassing more than five decades of painting, installation, photography, and design, the Tate’s survey will range from Hamilton’s early efforts with the Independent Group (including a re-creation of his seminal 1956 installation Fun House) to the paintings of his final year, exploring his multifarious engagements with art, media, and politics along the way. Across the Thames, the ICA restages two other early projects: Man, Machine and Motion, 1955 and an Exhibit, 1957. This dual effort will constitute the most comprehensive view to date of Hamilton’s diverse oeuvre, enabling fresh lessons from one of Pop’s (and indeed, modern art’s) most incisive and generous practitioners. Travels to Museo Nacional Centro de Arte Reina Sofía, Madrid, June 24–Oct. 14.

  • Hannah Höch, Flucht (Flight), 1931, photomontage, 9 1/8 x 7 1/4". © Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn.

    Hannah Höch

    Whitechapel Gallery
    77 - 82 Whitechapel High Street
    January 15–March 23

    Curated by Daniel F. Herrmann and Dawn Ades

    This first major UK exhibition of Hannah Höch (1889–1978) will span some sixty years of the artist’s career, illuminating aspects of her work frequently overshadowed by her association with Berlin Dada. Highlights among the more than one hundred collages, photomontages, watercolors, and woodcuts on display will include an impressive selection of her pathbreaking 1920s photomontage works, which exploit the medium’s capacity to produce comic effects and insist on the political significance of art outside of activist engagement, as well as a remarkable album Höch assembled privately in the period leading up to the National Socialists’ assumption of power in 1933. The exhibition catalogue will feature new translations of texts by and about the artist, including Höch’s diary entry on her visit the Degenerate Art exhibition in 1937, and Adolf Behne’s review of the 1920 Dada Fair.

  • Tauba Auerbach, The New Ambidextrous Universe I, 2013, plywood, 3/4 x 96 x 48".

    “Tauba Auerbach: The New Ambidextrous Universe”

    ICA - Institute of Contemporary Arts, London
    The Mall
    April 16–June 15

    Curated by Katharine Stout

    While most artists are busy making stuff for us to look at, Tauba Auerbach produces the kinds of perceptual enigmas that make us examine just how we see. Her rigorous, highly formal, but always visually engaging practice migrates across media, including sculpture, painting, photography, weaving, and artist’s books. For this, her first solo museum exhibition in the UK, Auerbach takes her cue from the seminal popular science book after which she’s named this show, pulling materiality through the looking glass to create a new series of large-scale wood floor sculptures, water-jet cut strips arranged to create a disorienting, amorphous puddle of form. Just when art seemingly ceases to be able to challenge us, Auerbach delivers an intricate process of supreme calculus that dances along the line where rational science rubs against irrational effect, with results as mystifying as they are compelling.