ARCHIVES

At the Met, a show of Low Countries paintings from Van Eyck to Bruegel captures a defining moment -- when artists fell in love with the worldly.

Examining the old iconography of Communism and the consumerist images that are replacing it, artists from an evolving China find some common ground.

At MoMA, the work of Rodchenko, who put down his brush to invent the look of the Russian Revolution -- only to be crushed by reality.

In the hands of Wolfgang Laib, pollen -- painstakingly, ritualistically gathered bit by bit over months -- becomes luminous art.

At the Jewish Museum, the visceral paintings of Chaim Soutine, one of the century's essential outsiders.

At Dia, Richard Serra and Robert Irwin make art you can enter; a forgotten French sculptor enlivens the Met.

At the Whitney Museum, where a face-lift once was contemplated, more modest changes shed new light on art.

Two shows at the Met capture a turning point in twentieth-century art: the moment when photography became modern.

At MoMA, two painters from opposite ends of the century, Fernand Léger and Chuck Close, and their meditations on the mechanical.

The Guggenheim's massive exhibition of Chinese art flatters the reigning powers of East and West -- by ironing out the rough spots.