Design Miami Makes Itself at Home in Los Angeles

New York, “Valentina Cameranesi Sgroi: I Racconti”

Valentina Cameranesi Sgroi is known for glassware, including cocktail glasses for Bottega Veneta, and for sets created for fashion houses such as Loro Piana and Margiela. Her first American solo exhibition introduces enameled copper vessels instead. Jacqueline Sullivan Gallery places the new pieces beside historic American decorative objects, giving contemporary Italian craft a slightly unexpected group of neighbors.

New York, “Jamian Juliano-Villani: It”

Jamian Juliano-Villani paints for an era in which advertising, art history, cartoons, memes and social feeds arrive as one continuous stream. She samples that visual noise with great technical control, then turns cheerful, familiar images toward the stranger corners of American life. It marks the New York artist's first exhibition with Gagosian.

Los Angeles, Design Miami

Design Miami chose a house rather than a convention center for its first trip to the West Coast. The fair took over a 30,000-square-foot Holmby Hills estate near Beverly Hills designed by Paul Williams, the architect behind Frank Sinatra's home and many landmarks of Los Angeles glamour. Henrik Purienne directed the visual identity, while Ashlee Harrison of Carpenters Workshop Gallery shaped the selection. Collectible furniture looked unusually comfortable in rooms that already knew how to receive it.

Paris, “Robert Mapplethorpe Curated by Edward Enninful”

Edward Enninful selected 46 Robert Mapplethorpe prints and arranged them in pairs, borrowing the rhythm of the magazine spreads he has shaped throughout his career. A portrait of Lisa Lyon in a wedding dress sits beside one in which she poses nude and flexes her muscles. Clothing, exposure, convention and strength shift meaning through the pairing. Enninful edits the wall as carefully as a page.

London, “Jeff Koons: Paintings, 2001 to 2013”

Skarstedt leaves the balloon dogs elsewhere and focuses on five large Jeff Koons paintings from the early 2000s. The dense, digitally composed images fold popular culture, classical art and familiar American symbols into surfaces that reward the same mix of attraction and suspicion as his sculptures.

Atlanta, “Cristóbal Balenciaga: Master of Tailoring”

SCAD FASH returns to Cristóbal Balenciaga's work from the 1940s through the late 1960s, before the house became a contemporary fashion spectacle. Rarely shown garments place the attention back on the Spanish couturier's exact cut, control of volume and radical understanding of the body. The clothes explain the reputation perfectly well on their own.