Pierre Chapo’s elm furniture has moved from connoisseur design into the art collector’s field of vision. The reason is not fashion alone: his best pieces make construction itself the subject.

Cecily Brown’s Picture Making turns uncertainty into a painterly method: figures emerge, dissolve and return across twenty-five years of paintings, drawings and monotypes.

MUAC, Museo Tamayo, Museo Jumex and kurimanzutto lead an unusually strong September in Mexico City, from Julian Rosefeldt and John Giorno to Richard Prince and a transatlantic reconsideration of Tamayo, Nieto and Toledo.

From Richard Meier’s glass-walled rooms to Gutai paintings, Arte Povera and site-specific sculpture, the Rachofsky House shows what happens when art leaves the gallery and becomes part of daily life.

Before Art Basel Paris arrives in October, September brings a concentrated Paris season spanning Kerry James Marshall, Cezanne, Christian Marclay, Paris Design Week, Fine Arts Paris and a gallery-history exhibition in the Marais.

Gagosian’s Damien Hirst solo booth at Frieze Seoul is less a comeback than a compact map of a highly segmented market—placing Spots, Spins, cabinets, Colour Space, Secret Gardens and Treasures side by side for collectors.