For the first time, viewers in the United States can see 193 of Hilma af Klint's earliest abstractions in “Hilma af Klint: Paintings for the Future,” at the Solomon R. Guggenheim Museum in New York City.

Following an acclaimed exhibition of the great French Romantic painter Eugène Delacroix at the Louvre in Paris, the Metropolitan Museum of Art opened, on Sept. 17, the first full presentation of the artist ever to be held in North America.

David Wojnarowicz's place in the history of American art is conflicted. He is likely best remembered for his involvement in the culture wars. But, removed from the stigma of a polarized culture war, what observations can we take away from this exhibition?

Mary Beard's new book is about the viewer as well as the viewed. It prompts us to think about how we construct our sense of civilization and the troubling ways that artistic depictions of the human and the divine serve to cement bias and, sometimes, provoke violence.

Large detailed illustrations show the evolution of the area—from busy construction and expansion in the fifth to eighth centuries to its gradual decline after the 10th century.