Tuttle Modern Art Museum of Fort Worth April 26 August 2 1998

"Pierre Bonnard," the start retrospective of the artist's work in New York in more than thirty years, will open at the Museum of Modern Fine art on June 21 and run through Oct. 13. John Elderfield, MoMA'southward deputy manager for curatorial affairs and master curator at large, has slightly pruned the testify that opened last February at London's Tate Gallery (Richard Shone's review of the original selection, which remains on view at the Tate until May 17, begins on p. 139) from 108 works downwards to 90. "I've tightened the bear witness quite a flake," says Elderfield. "New York is a tougher boondocks on artists." The MoMA version is organized by subject rather than chronologically, Elderfield adds, an attempt "to get people to slow down and spend a lot of fourth dimension with the pictures." Also traveling to MoMA (July xv–Oct 27) is "Yayoi Kusama in New York: 1958-68," originally mounted at the Los Angeles Canton Museum of Art, where it tin be seen through May 8 (AF preview, Jan. 1998). Kusama'due south sculptures and installations "seem fifty-fifty more timely today than in the '60s," contributing editor David Rimanelli wrote in these pages nigh the show. "Alvar Aalto: Betwixt Humanism and Materialism" (AF preview, Jan. 1998) can as well be defenseless at MoMA, through May 19, and "Bill Viola" continues at the Whitney Museum of American Art until May 10.

Traveling to the Jewish Museum on June 4 is "George Segal, a Retrospective: Sculptures, Paintings, Drawings." The show, which tin be seen at the Hirshhorn Museum and Sculpture Garden in Washington, DC, until May 17, was organized by the Montreal Museum of Fine Arts, where it started its run last September. Though this iv-decade survey has shrunk from its Montreal version (forty-two works volition be included here, down from seventy), Segal himself assisted the Jewish Museum in narrowing the selection. "An Expressionist in Paris: Chaim Soutine," the Lithuanian-born painter'southward first museum retrospective in thirty years (AF preview, January. 1998), hangs at the Jewish Museum until Aug. sixteen. "Alex Katz—Under the Stars: American Landscapes 1951-1995," which opened at the Baltimore Museum of Art ii years agone, ends its run at P.S. one in Queens, the institution that organized the evidence, on June 28. Uptown, the only African American among the original Abstruse Expressionists gets his due in "Norman Lewis: Black Paintings, 1946-1977" (AF preview. January. 1998), at the Studio Museum in Harlem through Sept. 20. "Half Past Fall: The Fine art of Gordon Parks" (AF preview, Sept. 1997) travels to the Museum of the Metropolis of New York on July 1 and closes Nov. 1 (the show can be seen at the Minnesota Museum of American Art in St. Paul until May 17).

Outside New York, "Stuart Davis" makes its sole American appearance at the National Museum of American Art in Washington from May 22 to Sept. vii. Organized by the Peggy Guggenheim Collection in Venice, the Washington exhibition is "essentially the same" evidence of more than fifty works that has toured Europe since concluding June, co-ordinate to Elizabeth Broun, director of the National Museum of American Art. "We've been able to add a couple of important pieces—i from Baltimore and one from Chicago—that were not immune to travel abroad," says Broun, "and we've lost the pieces from the Whitney because they wanted them for the opening of their new galleries" (the pocket-sized simply handsome new floors, which display a portion of the Whitney's permanent drove, opened on April 4). Philip Rylands, the prove's curator, selected the works with the assist of Broun and Earl Davis, the artist's son (who has as well provided family photographs, memorabilia, sketches, and cover illustrations from The Masses for exclusive display at the Washington prove). The Whitney's Richard Diebenkorn retrospective (AF preview, Sept. 1997) opens at the Phillips Collection in the nation'south uppercase on May 9, where it remains until Aug. xvi. "Brice Marden: Work Books" features thirty years' worth of the artist's workbook drawings. Co-organized past Harvard's Fogg Art Museum, the Kunstmuseum Winterthur, and Munich'south Staatliche Graphische Sammlung, the show appears at the Fogg from May thirty to Sept. 6. "Arthur Dove: A Retrospective" (AF preview, Sept. 1997), previously at the Phillips Collection and the Whitney, remains at the Addison Gallery in Andover, MA, until July 12, earlier moving to the LA County Museum of Art on July 30 to finish its run on October. 5, MoMA'southward Chuck Shut retrospective (AF preview, Jan. 1998) remains in New York through May 26, and then travels to Chicago's Museum of Gimmicky Art (June twenty–Sept. 13). The Walker Art Center's "100 Years of Sculpture" (AF preview, Jan. 1998) stays up in Minneapolis until May 24. "Agnes Martin/Richard Tuttle," a small-scale-scale exhibition of major works by the two longtime friends, hangs at the Modern Fine art Museum of Fort Worth through Aug. two. Organized by the museum'due south Universalist Exposition chief curator. Michael Auping, the evidence moves to the artists' domicile court (Site Santa Fe), where information technology will be on view from Aug. 15 to Oct. 20. In California, "The Architecture of Reassurance: Designing the Disney Theme Parks" (AF preview, May 1997) hits the UCLA/Armand Hammer Museum on May xiii and runs until Aug. ii. This show, curated past cultural historian Kara Ann Marling and organized (with Disney's cooperation) by the Canadian Heart for Architecture, started its run in Montreal final June. "Paul Strand, Circa 1916" (AF preview, Jan. 1998) remains at the Metropolitan Museum of Fine art in New York through May 31. It then travels to the San Francisco Museum of Modernistic Art on June xix, where it will remain on view until Sept. xv. "Sargent Johnson: African-American Modernist" (AF preview, January. 1998) tin be seen at SF MoMA until July 7. Also of notation in the Bay Area is "An English language Vision: Stanley Spencer" (AF preview, Sept. 1997). This definitive survey of the figurative painter's work, which opened at the Hirshhorn concluding Oct, moves to the Fine Arts Museum in San Francisco, where it will hang from June 8 to Sept. vi.

In Europe, "Bruce Nauman: Prototype/Text 1966-1996," a bear witness of fifty-two pieces largely devoted to the role that linguistic communication, music, sound, and words play in the artist'due south work (AF preview, May 1997), travels to the Hayward Gallery, London, on July 16 and will be on view there until Sept. half dozen. "Gabriel Orozco," an overview of the creative person'southward piece of work of the past 2 years (AF preview, January 1998) remains at the Musee d'Art Moderne de la ville de Paris through June 21; at the aforementioned institution, "Visions du Nord," a large survey of Scandinavian art (AF preview, Jan. 1998), is up until May 19. Also in Paris, "Man Ray: Photography Inside Out" is a retrospective of the creative person's photography; the showtime exhibition based on the exhaustive utilise of Homo Ray's own photographic archives, the bear witness opens at the M Palais on April 28 and runs through June 29 in Bilbao, all 500 objects of the Guggenheim Museum's "China: 5,000 Years" (see Andrew Solomon's review of the show on p. 142) volition go on display quondam this summertime, although Gugg officials oasis't yet been able to pin down the exact month and day. (Don't you lot just detest it when that happens?) One of the most complete Lucio Fontana retrospectives to date (AF preview, Jan. 1998) remains on view at the Palazzo delle Esposizioni, Rome, through June 22. And making its final European cease is "Sunshine & Noir: Art in LA. 1960-1997," which unites the work of 50 artists from Southern California. The show, which originated at the Louisiana Museum in Copenhagen last year (AF preview, May 1997), travels to Turin (to the Castello di Rivoli, May nine–Aug. 23) before moving on to its final destination, Los Angeles.

Katharina Sieverding, a retrospective of the Berlin artist's pioneering photo-based piece of work, began its run at Düsseldorf'southward Kunst-sammlung Nordrhein-Westfalen in December; information technology can be seen at the Stedelijk Museum, Amsterdam, through June fourteen. The third and final venue of the retrospective of work by the painter Jonathan Lasker, organized by the Kunsthalle Bielefeld, opens at the Kunstverein St. Gallen in Switzerland on May 2 (until June 28). I of this flavor'southward most talked-well-nigh shows, "Out of Deportment: Between Performance and the Object, 1949-1979," documents actions, performances, and happenings past more ane hundred international artists through the objects left as traces of these various activities. The maverick undertaking travels to the MAK-Austrian Museum of Practical Arts on June 17, where it remains until Sept. six; information technology tin can yet be caught (until May x) at the Geffen Gimmicky at the Los Angeles Museum of Gimmicky Fine art, where it opened in February (AF preview, Jan. 1998). "Cindy Sherman: Retrospective" (AF preview, Sept. 1997), at Chicago's Museum of Contemporary Fine art through May 31, moves to Galerie Rudolfinum, Prague, on June 25 and will be on view until Aug. 23. "Pipilotti Rist," the Swiss video artist's first solo bear witness in Germany (AF preview, Jan. 1998), remains at the Hamburger Bahnhof, Berlin, through May 31 and travels to Kunsthalle Wien on June 26 and runs until Aug. 30. And the showtime retrospective of piece of work by Brazilian creative person Lygia Clark, which was mounted final fall at the Fundació Antoni Tàpies in Barcelona (AF preview, Sept. 1997), will be at the Fundação de Serralves from Apr. 30 to June 28 before traveling to the Palais de Beaux-Arts, Brussels.

—Lawrence Levi