With the just-opened Philadelphia Museum of Art exhibition “Paul Strand: Master of Modern Photography,” Strand finally gets the big retrospective he deserves. Most people are familiar with his breakthrough images of the 1910s, in which he turned Manhattan into a gorgeously abstracted composition of black, white and a thousand shades of gray—but his later work, particularly the striking pictures of Ghana from the 1960s, also warrants attention. As the curator who assembled the 250 photographs, Peter Barberie, puts it, “He wanted to show that modernity is everywhere, unfolding on its own time.” Through January 4; philamuseum.org.
“Picasso/Dalí, Dalí/Picasso,” a landmark collaboration between the Dali Museum in St. Petersburg, Florida, and Barcelona’s Museu Picasso, seeks to right the lopsided relationship between antipodal masters of the 20th century. For the first time, the show examines the interplay between two greats who differed in politics, technique and—at last consensus—genius but whose artistic apotheoses were forged in the same national catastrophe, the Spanish Civil War; whose later works engaged with the same Old Masters; and who were unrivaled in their drive to dominate 20th-century art. Dali lost. This exhibit questions that defeat. November 8– February 16; thedali.org.
The first career retrospective of French Conceptualist Pierre Huyghe—which comes to the Los Angeles County Museum of Art after showing in Paris and Cologne—will make clear how wildly his work has varied over the last 25 years. But among the videos, installations and puppet shows, a philosophy emerges: Once meticulously conceived, the art takes on a life of its own, abandoned to the whims of nature. Which is why so much of his work relies on animals, notably a white Ibizan hound with one leg dyed beet-juice pink, and a beehive wrapped around the head of a stone odalisque. November 23– February 22; lacma.org.
Conceptual artist Elaine Sturtevant’s work looks like Jasper Johns’s. And like Andy Warhol’s. And like Keith Haring’s. Intentionally inexact replicas that presage appropriation art, they exploded notions of authenticity and authorship a decade before Richard Prince. “Repeating” images that were themselves reproductions (of soup cans, flags), Sturtevant pushed past Duchamp and Warhol to forecast the repetitious, unattributed imagery of the digital age. With “Sturtevant: Double Trouble,” the first U.S. retrospective in her 50-year career, New York’s Museum of Modern Art returns her to her proper place inside the mostly male artistic pantheon she long defied. November 9–February 22; moma.org.
The culmination of the Fondation Cartier’s year-long 30th-anniversary extravaganza, Diller, Scofidio + Renfro’s “Musings on a Glass Box” puts the museum front and center. Emptying Jean Nouvel’s radical Paris structure, the New York design insurrectionists turn the receptacle into the artwork, carrying the French architect’s ambition—to integrate exterior and interior—to its extreme. Enhanced by a leak, a bucket and music from avant-garde composer David Lang, the building morphs into a witty, immersive environment that flips the conventions of the white-cube gallery inside out—a perfect tribute to an institution hailed for doing just that. Through February 22; fondation.cartier.com.