International Museum Exhibitions

The following guide to museum shows currently on view is compiled from Artforum’s three-times-yearly exhibition preview. Subscribe now to begin a year of Artforum—the world’s leading magazine of contemporary art. You’ll get all three big preview issues, featuring Artforum’s comprehensive advance roundups of the shows to see each season around the globe.

Haegue Yang, Thread with Fishhook, 1995–96, varnish, thread, and fishhook on chipboard, 10 7/8 × 9 7/8".

“Haegue Yang: ETA 1994–2018”

April 18 - August 12
Curated by Yilmaz Dziewior with Leonie Radine

The peripatetic Korean-born artist Haegue Yang was awarded this year’s Wolfgang Hahn Prize, whose past recipients include James Lee Byars, Isa Genzken, and Rosemarie Trockel. Yang stages metaphorical conversations between various everyday objects in her installations, which range from the uncannily anthropomorphic to the unyieldingly deadpan. Her largest exhibition to date, “ETA 1994–2018,” marks her receipt of the award and features an encyclopedic array of more than a hundred works, including photographs and videos as well as her signature installations. Accompanied by a catalogue raisonné, the show will highlight Yang’s recent baroque constellations as well as her relatively lesser—known early projects, including a set of modestly proportioned wooden panels that calls attention to form as an endlessly generative problem.  

Joan Kee

Kiki Smith, Sky, 2011, jacquard tapestry, 113 × 75".

“Kiki Smith: Procession”

February 2 - June 3
Curated by Petra Giloy-Hirtz

The first major European survey of the German-born artist’s oeuvre, this show promises a capacious and medium-traversing exhibition spanning three decades of work in sculpture, drawing, etching, lithography, bookmaking, photography, and video. Illuminating Smith’s trajectory from her emergence amid the aids crisis to her more recent sympathy for nature, narrative, and myth in the contemporary world, the selection of works frames Smith’s deft evocation of the necessarily transitory experience of the somatic through material means: bronze and plaster, glass and beeswax. An accompanying catalogue published by Prestel—with contributions by curator Petra Giloy-Hirtz together with those of Virginia Raguin (extrapolating on Smith’s Catholic background), Julia Bryan-Wilson (outlining her work with animals), and Ulrich Wilmes (detailing her relation to craft)—will further contextualize Smith as a receiver of the medieval tradition of reliquaries and devotional texts, as well as a latter-day feminist.  

Suzanne Hudson

André Derain, Big Ben, ca. 1906, oil on canvas, 31 1/8 × 38 5/8".


Through January 29
Curated by Cécile Debray

Between two bouts of military service in 1904 and 1914, André Derain—one of the original Fauves and certainly the best not named Matisse—executed three bodies of work that secured his place in the second tier of avant-garde painting. Daring color experiments in dialogue with Matisse (while both were staying in Collioure, France, in the summer of 1905) and a series painted in London the next year at the urging of dealer Ambroise Vollard were followed by a group of bathing pictures, which manage to almost hold their own despite the fact that they were begun the same year, 1907, as the first public exhibition of Picasso’s Demoiselles d’Avignon. Was Derain’s encounter with the legacy of Cézanne the kiss of death that subsequent criticism has made it out to be? Decide for yourself at the first exhibition in more than twenty years to exhaustively showcase what the show’s curator is calling Derain’s “radical decade.”  

Paul Galvez

“Sheila Hicks: Life Lines”

February 7 - April 23
Curated by Michel Gauthier

The American artist Sheila Hicks will finally have her first retrospective in Paris, her adopted home. A Nebraska native and a former student of Anni and Josef Albers, Hicks has created monumental fiber sculptures since the late 1950s. Early on, these works took the form of interior—design commissions for corporate and public spaces; later, she made a turn toward dimensional sculptural forms that drape and unfurl. As a peripatetic expatriate, Hicks produced site-specific sculptures and installations that explored indigenous weaving practices in Mexico, India, Morocco, Israel, and elsewhere, long before the term globalization came into vogue. A progenitor of material—driven installations, she has created projects that privilege abstraction, utilizing a vast textile vocabulary of bundling, heaping, coiling, braiding, weaving, and wrapping. Hicks is, at heart, a formalist, building a complex and dense palette of color, volume, texture, and space. A bilingual catalogue will accompany the show, featuring essays by Monique Lévi-Strauss and Cécile Godefroy.

Jenni Sorkin

“Neïl Beloufa: The enemy of my enemy”

February 16 - May 13
Curated by Guillaume Désanges

In his videos embedded in sculptural environments, as well as in his first feature film, Occidental (2017), Neïl Beloufa has made a strategy of sidestepping expectations to redirect attention to structural questions of politics and power. Here, Beloufa ups the ante of his culture jamming to expose the discourses and strategies of modern propaganda across the board, from Far Left to Far Right. The clincher is that the exhibits—including artifacts such as a baseball signed by Tony Blair, loans from museums of military history, and artworks by the likes of Gustave Courbet and Thomas Hirschhorn, as well as by Beloufa himself—are installed on robotically controlled display units. The automated rearrangement of these displays continuously makes and unmakes the connections between them, forcing a literal and metaphorical repositioning of the viewer in relation to the panoply of competing ideological agendas that define our time, and the art made within it.

Alexander Scrimgeour

Lucio Fontana, Struttura al neon per la IX Triennale di Milano (Neon Structure for the 9th Milan Triennial), 1951, crystal tube, neon. Installation view, Palazzo dell’Arte, Milan.


Through February 25
Curated by Marina Pugliese, Barbara Ferriani, and Vicente Todolí

Most art-world denizens know Fontana as the maker of punctured and slashed monochrome canvases that seem to embody the nihilism and lingering violence of the postwar discourse on gesture. Few conoscenti, however, have closely read Fontana’s manifestos on Spatialism, which contextualize his plastic works as research into space, light, technology, and the cosmos. Fewer still have experienced his Spatial Environments, the immersive installations that occupied much of his last decade. In collaboration with the Fondazione Lucio Fontana, this show will reconstruct nine such environments at full scale, many for the first time since the 1960s. Filling the HangarBicocca’s industrial nave with labyrinths of light, mirrors, fluorescent paint, and rubber floors, this historic exhibition promises a rare opportunity to plunge into the mature work of one of the twentieth century’s most electrifying artists.

Elizabeth Mangini