The Museum of Modern Art is staging an exhibit of iconic clothing and accessories to examine the relationship between fashion and society. On display are 111 high-impact items like Levi’s 501 jeans, the little black dress, the sari, the pearl necklace and even tattoos — all part of the cultural heritage of the West and elsewhere in this century and the 20th. In MoMA’s first exhibit on fashion since 1944, the show features garments that seem timeless, like the Panama hat. But it also includes items from everyday life or those denoting religious affiliation, such as the yarmulke for Jewish men and the headscarf for Muslim women. The exhibit is called “Is Fashion Modern?” It opens Sunday and runs through January 28. It provides a chance to recall how certain garments symbolized what was considered modern in a given period of history.

From October 1, 2017, to January 21, 2018, the Fondation Beyeler will be presenting a major exhibition of the work of Paul Klee, one of the most important painters of the twentieth century. The exhibition undertakes the first-ever detailed exploration of Kleeʼs relationship to abstraction, one of the central achievements of modern art. Paul Klee was one of the many European artists who took up the challenge of abstraction. Throughout his oeuvre, from his early beginnings to his late period, we find examples of the renunciation of the figurative and the emergence of abstract pictorial worlds. Nature, architecture, music and written signs are the main recurring themes. The exhibition, comprising 110 works from twelve countries, brings this hitherto neglected aspect of Kleeʼs work into focus. The exhibition is organized as a retrospective, presenting the groups of works that illustrate the main stages in Klee&#7

It is in Palestine that the Gospels place the preaching of Christ, and it is between the Mediterranean and the Euphrates, along the Nile, and on the banks of the Bosporus, that the new religion developed and set down roots before spreading. Today, in spite of all of the vicissitudes of ancient and contemporary history, Christians in the Middle East are not residual traces of a defunct past, but real stakeholders in an Arab world the construction of which they contributed to enormously. It is to tell their particular histories as full-fledged components of the countries in which they live (Egypt, Syria, Iraq, Lebanon, Jordan, and Palestine) that the Arab World Institute, in coproduction with the MuBA Eugène Leroy, the Musée des Beaux-Arts of Tourcoing, presents, until 14 January 2018, this major exhibition. Developed in close association with representatives of numerous communities, with the help of Oeuvre d’Orient, the ex

The Petite Galerie exhibition for 2017–2018 focuses on the connection between art and political power. Governing entails selfpresentation as a way of affirming authority, legitimacy and prestige. Thus art in the hands of patrons becomes a propaganda tool; but it can also be a vehicle for protest and subverting the established order. Spanning the period from antiquity up to our own time, forty works from the Musée du Louvre, the Musée National du Château de Pau, the Château de Versailles and the Musée des Beaux-arts de la Ville de Paris illustrate the evolution of the codes behind the representation of political power. The exhibition is divided into four sections: “Princely Roles”: The first room presents the king’s functions— priest, builder, warrior/protector—as portrayed through different artistic media. Notable examples are Philippe de Champaigne’s Louis XIII, Léonard Limosin’s enamel Crucifixion Altarpiece, and t