From the Art Institute of Chicago website:
Warhol, with obvious self-deprecation, described his philosophy as spanning from A to B. As this exhibition decidedly proves, his thinking and artistic production ranged well beyond that, but his true genius lies in his ability to identify cultural patterns and to use repetition, distortion, and recycled images in a way that challenges our faith in images and questions the meaning of our cultural icons.
This major retrospective—the first to be organized by a US institution in 30 years—builds on the wealth of new research, scholarship, and perspectives that has emerged since Andy Warhol’s early death at age 58 in 1987. More than 400 works offer a new view of the beloved and iconic American Pop artist, not only illuminating the breadth, depth, and interconnectedness of Warhol’s production across the entirety of his career but also highlighting the ways that he anticipated the issues, effects, and pace of our current digital age.
The Last Knight: The Art, Armor, and Ambition of Maximilian I examines the profound significance of European armor at the dawn of the Renaissance, through the lens of Emperor Maximilian I’s (1459–1519) remarkable life. On view only at The Met, The Last Knight coincides with the five-hundredth anniversary of Maximilian’s death, and is the most ambitious North American loan exhibition of European arms and armor in decades. Including 180 objects selected from some thirty public and private collections in Europe, the Middle East, and the United States, The Last Knight will explore how Maximilian’s unparalleled passion for the trappings and ideals of knighthood served his boundless worldly ambitions, imaginative stratagems, and resolute efforts to forge a lasting personal and family legacy.
The plans for the venue were previously 
Rediscovered in the late 19th century, celebrated by authors, acknowledged and embraced by the 20th century avant-garde, the artist has enjoyed the dual prestige of tradition and modernity, linking Titian to the Fauvists and Mannerism to Cubism, Expressionism, Vorticism and Abstraction up to the Action painting.
There’s also a special focus on architecture and design in this new approach to the collection: Several galleries are devoted to various aspects of those fields, including “The Vertical City,” an examination of skyscraper construction that includes photos by Berenice Abbott, Hugh Ferriss’s architectural drawings, and other ephemera. Elsewhere, building models of the Guggenheim and a spec design of MoMA by modernist master William Lescaze emphasize the importance of architecture to museums, and vice versa.
By Day & by Night: Paris in the Belle Époque surveys the rich range of artistic responses to life in the French capital through a selection of paintings, drawings, prints and photographs from the Museum’s collections. Together these works of art demonstrate that visual artists participated in the inventive spirit of the age by interpreting the everyday as something extraordinary.
Our first stop was the Ashmolean Museum, which was remarkably uncrowded at 9:30 am this Wednesday morning. We paid to see the special exhibit “Last Supper In Pompeii” and it was outstanding.
Boomers Daily 