At Berlin’s Neue Nationalgalerie, Maurizio Cattelan turns Mies van der Rohe’s glass pavilion into a charged contemporary temple—and reveals the seriousness, historical intelligence and remarkable coherence beneath three decades of provocation.

Twenty-five years after 9/11, Thomas Ruff’s monumental jpegs ny asks how compression, circulation and the internet have altered collective memory.

The first French exhibition devoted to Kerry James Marshall brings 70 works and eight new paintings to Paris, revealing why institutional importance and market recognition do not arrive at the same moment.

Opening 22 September, the Lucas Museum of Narrative Art turns George Lucas and Mellody Hobson’s cross-category collecting philosophy into a major public institution.

Inside an I.M. Pei apartment at Kips Bay Towers, an exceptional photography and design collection reveals a mature collecting problem: when every object is strong, editing becomes the real form of connoisseurship.

The Whitney’s first major Minnie Evans retrospective in more than five decades shows why “outsider” and “self-taught” are too small for a practice built from modernity, spiritual vision, botanical structure and rigorous visual invention.