Curated by Sébastein Gokalp and Choghakate Kazarian

This thorough overview of the Argentinean-Italian artist’s materially and aesthetically heterogeneous oeuvre will fill the Musée d’Art Moderne this spring. Realized in collaboration with the Lucio Fontana Foundation, the exhibition will include some two hundred works, presented chronologically, beginning with the artist’s earliest output—including his 1930s sculpture and ceramics, which notably cut across the stylistic divides of primitivism, abstraction, and realist figuration. In addition, expect neon installations from the ’50s, a broad selection of slashed canvases, and several of Fontana’s curious late religious works, which intriguingly came about during the very period—the late ’40s through the late ’50s—that also witnessed his return to abstract painting. A comprehensive catalogue with new essays by the curators and several scholars, plus an anthology of texts by Michel Tapié, Lawrence Alloway, and others, accompanies.

— Jaleh Mansoor

Curated by Pamela Golbin

Two decades ago, Pamela Golbin became curator of fashion and textiles at Les Arts Décoratifs, and when “Dries Van Noten” opens at the Parisian institution this March, it will be one of her few shows of a designer’s work that includes not a stitch of couture. The reason is easy: Dries Van Noten doesn’t do couture. Nor does he make conceptual, Icarusian showpieces à la Hussein Chalayan or Margiela. Instead, at fifty-five, the Belgian designer is cult-worshipped for a lush but grounded sensibility that defies an old argument: that fashion’s unwearable and unpurchasable moments are proof of its art. Nearly every piece in the exhibition was first made in multiple, for sale, elevating (if you stretch it a little) gift-shop populism to the hushed upper floors. Meanwhile, Van Noten’s summer 2014 women’s and men’s collections feature centuries-old prints from the museum’s archive, applied to lounge-like garments that function, you could say, as rather expensive postcards.

— Sarah Nicole Prickett