Asia Society, Sept. 6–Jan. 5.
Works by Iranian artists from the fifties up to 1979: evidence that modernism took hold in more places than we tend to realize.
“TJ Wilcox: In the Air”
Whitney Museum, Sept. 19–Feb. 9.
Wilcox turns the 360-degree vista from his Union Square penthouse into a panoramic six-part film that chronicles a clear day in the city.
Swiss Institute, Sept. 19–Nov. 3.
Inspired by the story that René Descartes constructed an animatronic likeness of his 5-year-old daughter after she died, this group show takes a coolheaded look at the mind-body divide. Look for poltergeists, doppelgängers, and Virgin Mary apparitions.
“Dorothea Rockburne: Drawing Which Makes Itself”
MoMA, Sept. 21–Jan. 20.
Cerebral, weighty work made with a light touch, funneling Rockburne’s polymathic interests—astronomy, Quattrocento masters, the Golden Mean—into abstractions.
“Cats and Girls—Paintings and Provocations”
Metropolitan Museum of Art, Sept. 25–Jan. 12.
When you think about it, Balthus (1908–2001) was a lot like the Internet: partial to pictures of cats and underage neighbor girls.
“Tiepolo, Guardi, and Their World: Eighteenth-Century Venetian Drawings”
Morgan Library and Museum, Sept. 27–Jan. 5.
Nearly 100 luminous drawings from the Morgan’s collection by eighteenth-century masters.
Paula Cooper, Sept. 3–Oct. 10.
The wall drawings that the critic Peter Schjeldahl once called “incredibly potent inventions, like the lever and the wheel.”
Team Gallery, Sept. 5–Oct. 6.
Trust Team Gallery to make text in visual art seem fresh again, via the heady works of up-and-comers like Margaret Lee and Georgia Sagri.
Mary Boone, Sept. 5–Oct. 26.
Painted, pointed diptychs of scenes from Israel and Palestine.
Matthew Day Jackson
Hauser & Wirth, Sept. 6–Oct. 19.
A custom-designed vehicle invented by Jackson’s uncle and built by his cousin, a champion race-car driver.
Maccarone, Sept. 7–Oct. 19.
This critical favorite brings in the outdoor concrete-and-metal sculptures she made for Documenta 13, alongside new, gnomic pieces that pay homage to beat poet Lionel Ziprin.
Horton Gallery, Sept. 7–Oct. 20.
The Minnesotan’s carved blocks of basswood, covered in black gesso and graphite, channel folk art, high art, and American subcultures real and imagined.
Klaus von Nichtssagend, Sept. 8–Oct. 20.
Photographs that find their strength in the constructed scenes they depict: messy assemblages that whimsically suggest flora and fauna.
Pace Gallery, Sept. 10–Oct. 26.
With “outsider” artists taking center stage at this year’s Venice Biennale, what better time to revisit the work of the French visionary who coined the term “Art Brut”?
Lehmann Maupin, Sept. 11–Oct. 26.
Weirder than ever, his ebullient portraits always make us see ourselves as the depraved anthropologists we are.
Gering & Lopez, Sept. 12–Oct. 26.
Little-known in the U.S. but big in Brazil, this long-established artist creates mysterious systems of objects that straddle the line between two dimensions and three.
Edmund de Waal
Gagosian, Sept. 12–Oct. 19.
Making, looking, collecting—all instincts that appear in his installations of clustered porcelain vessels and in The Hare With Amber Eyes, his award-winning best seller about a family and its heirlooms.
James Cohan, Sept. 12–Oct. 19.
New-media pioneer whose paeans to the color black will be rediscovered via the paintings and photographs at Cohan. His hand-painted films will also screen at MoMA in October.
A. K. Burns
Callicoon Fine Arts, Sept. 15–Oct. 27.
Co-founder of W.A.G.E. (Working Artists and the Greater Economy) and co-star of an art-porn flick, Burns pairs labor and gender politics in her second show at Callicoon.
“Chris Burden: Extreme Measures”
New Museum, Oct. 2–Jan. 12.
In 1971, Burden upped the ante of endurance art when he had his assistant shoot him through the arm. He’ll take over five floors and the façade of the New Museum, giving his big sculptural work the space it needs.
Bronx Museum, Oct. 6–Feb. 15.
Melding Minimalist and readymade traditions, Feher turns half-filled bottles, cardboard boxes, and berry containers into sweet little sculptures that radiate faith in everyday life’s power.
Japan Society, Oct. 11–Jan 12.
Her first major U.S. museum survey in a decade, “Rebirth: Recent Work by Mariko Mori” could be a nod at Mori’s self-reinvention via self-portraiture—or a reference to her space-age podlike forms.
MoMA PS1, Oct. 13–Feb. 2.
Remembering Kelley, who passed away last year, John Waters called him “the man who made pitiful seem sexy, the man who turned grimy, thrift-shop stuffed animals into heartbreaking, jaw-dropping beauty.”
“Out of Hand: Materializing the Postdigital”
Museum of Arts and Design, Oct. 16–July 6.
A celebration of the 3-D printer and its relatives: See Marc Newson’s design for a madly expensive Boucheron necklace, Barry X Ball’s neo-traditionalist sculptures, Julian Mayor’s cloned Queen Anne chair, and more.