It’s all "me me me" at the Guggenheim, as the museum asks artists and architects how they might fill the emptiness in its heart. Mimi Zeiger takes a look.
A 10-year survey of American design at the Cooper Hewitt, New York, highlights its commercial colours.
MOMA’s blockbuster on the gothic filmmaker packs in the material and oozes style, but is there anything else to it? Scott Geiger paid a visit.
The AA brings together the debuts of the starchitects – can it offer any pointers to today’s young practices? Geoff Shearcroft looks for tips.
Germany’s complex national psyche is explored with paper and scissors in Thomas Demand’s searching show, says Sophie Lovell.
This monster show celebrating the 90th birthday of the seminal modernist institution does a fine job of identifying its importance and probing its legacy, says Daniel Miller.
In its effort to reclaim futurism as a serious school of painting, the Tate has jettisoned some of the best bits, says Owen Hatherley.
It’s hard not to see this seminal artist’s work as a celebration of ephemeral America – but these days its glamour is less obvious.
The V&A’s exploration of fantasy and fear in contemporary design is light on comforting bedtime stories and heavy on anxiety.
The life's work of Frank Lloyd Wright gets somewhat lost in the monumental ramped space of his masterpiece - but his relevance is still clear, says Alex Pasternack.
Modern architecture was fascist Italy's way of pretending to be civilised - the result is an eerie collection of photographs, says Owen Hatherley.
Once seen as part of pop music, jazz grew into its own cultural force and influenced everything along the way, writes Francesca Gavin.
What do artists and architects have to say about our abusive relationship with the natural world? And since that topic is so timely, why does the most radical work come from the 1970s and 80s?