Cover by Francis Cugat. (Courtesy Charles Scribner's Sons)

Remember Gatsby fever? Like, two weeks ago when everyone was all drinking Champagne and wearing seersucker at parties? Oh, those heady days of early spring!

It's sort of tapered off a bit. That movie blew! However, should you find yourself in need of another Gatsby fix (or, you know, if you're just a normal person who considers the book to be an enduring American classic)--and if you have about $100,000 to $150,000 to spare--Sotheby's is auctioning off a rare first edition of The Great Gatsby that was once owned by the author Malcolm Cowley.

The sale, which takes place June 11 in New York, will also include a group of letters in which F. Scott Fitzgerald apologizes to the host of a dinner party "for being inebriated."

Scene from last year's Warm-Up party. (Courtesy MoMA.org)

MoMA PS1 in Queens has announced its schedule of summer Warm-Up parties, which kicks off June 29 with a performance by Detroit techno pioneer Juan Atkins.

Can't help but notice a bit of a Detroit theme here, with a few other Motor City acts making appearances as well, including MK, Octave One, Marcellus Pittman and  Recloose.

The performances were selected by a committee that was chosen by PS1's director, Klaus Biesenbach, and organized by assistant curator Eliza Ryan. Here's the committee: Dean Bein, head of True Panther Sounds; Kris Chen, head of XL Recordings; Jonathan Galkin, co-founder of DFA Records; Brandon Stosuy, editor at Pitchfork; Matt Werth, head of RVNG Intl; and Imogene Strauss, MoMA PS1's bookings and stage manager.

The full line-up is below.

Warm Up 2013

June 29

Juan Atkins/ Metroplex / Detroit, MI

Lee Gamble/ PAN / London, UK*

HEATSICK/ PAN / Berlin, Germany*

NHK'Koyxen/ PAN / Osaka, Japan*

Bill Kouligas/ PAN / Berlin, Germany*

*presented as part of ISSUE Project Room and Goethe-Institut NY's PAN_ACT festival

July 6

The Martinez Brothers/ Cuttin' Headz / New York, NY

Kim Ann Foxman (DJ set)/ New York, NY

DJ Qu/ Strength Music / New York, NY

Anthony Naples/ The Trilogy Tapes / New York, NY

July 13

MK/ Hot Creations / Detroit, MI

XXYYXX / Relief in Abstract / Orlando, FL

Ryan Hemsworth/ WeDidit / Halifax, Nova Scotia

Bondax/ Relentless / Lancaster, UK

Gobby/ UNO NYC / Boston, MA

James K/ RUM / New York, NY

July 20

Kode9/ Hyperdub / London, UK

L-VIS 1990 / Night Slugs / New York, NY

Recloose/ Rush Hour / Detroit, MI and New Zealand

Kelela/ Fade To Mind / Los Angeles, CA

Obey City/ LuckyMe/ Astro Nautico / Brooklyn, NY

July 27

A Guy Called Gerald/ 25 Years Independent / Manchester, UK

Ben UFO/ Hessle Audio / London, UK

Majical Cloudz/ Matador / Montreal, QC

Daniel Avery/ Phantasy / London, UK

Roosevelt/ Greco-Roman / Cologne, Germany

August 3

Marcellus Pittman/ Unirhythm / Detroit, MI

Jackmaster/ Numbers / Glasgow, Scotland

Dre Skull/ Mixpak / New York, NY

Ratking/ XL Recordings / New York, NY

Rizzla/Fade To Mind / New York, NY

August 10

Julio Bashmore/ Broadwalk Records / Bristol, UK

Octave One (Live)/ 430 West Records / Detroit, MI

Hyetal/ True Panther / Bristol, UK

DJ Dodger Stadium (Samo Sound Boy+ Jerome LOL)/ Bodyhigh / Los Angeles, CA

August 17

King Britt/ Hyperdub / FiveSix / Philadelphia, PA

J. Cole/ Roc Nation / Columbia / New York, NY

Bangladesh/ Bangladesh Records / Atlanta, GA

Mr. Muthafuckin' eXquire/ Republic / Brooklyn, NY

Darq E Freaker/ London, UK

World's Fair/ Fool's Gold / Queens, NY

August 24

Caribou (DJ set)/ Merge / London, UK

Museum of Love (DJ set)/ DFA / New York, NY

Stellar OM Source (Live)/ RVNG Intl / Antwerp, Belgium

Pional/ Hivern Discs / Barcelona, Spain

Empress Of/ Brooklyn, NY

Terreke/ L.I.E.S. / Brooklyn, NY

August 31

Cajmere/ Cajual / Chicago, IL

Liars (Live)/ Mute / Los Angeles, CA

Lil Silva / Good Years, Young Turks / Bedford, UK

IO ECHO (Live) / IAMSOUND / Los Angeles, CA

Jon Hopkins / Domino / London, UK

Miles / Modern Love / Berlin, Germany

September 7

Line-up for this *extra* Warm Up to be announced...

Michael Bloomberg with Cindy Sherman and Ellsworth Kelly. (Courtesy Patrick McMullan)

"I'll admit, when I first saw 'party in the garden,' I hoped it had something to do with the Knicks," Mr. Bloomberg said. "But this is the party in the garden [at MoMA]." [WSJ]

"After a two-year battle, a Brooklyn carpenter has beaten a $2,000 ticket for picking up a discarded TV antenna for an art project." [NYDN] 

An alliance of British galleries, backed by the Heritage Lottery Fund, purchased John Constable’s Salisbury Cathedral From the Meadows (1831) for £40 million ($60 million). [Bloomberg]

The 33-volume Picasso catalogue raisonné by Christian Zervos is being reissued for $15,000. [NYT] 

Here's a look at the museum boom in China. [NPR] 

Zaha Hadid opens new design gallery. [The Guardian]

The German art shipper who was jailed in China has been returned home. [The Art Newspaper]

Reagan. (Courtesy the Executive Office of the President of the United States)

Swann Galleries has withdrawn six lots of material from Ronald Reagan's presidency from its May 23 autographs auction in compliance with the Presidential Records Act, which mandates the preservation of all presidential records that are generated in the course of doing governmental business composed after Jan. 20, 1981. The redacted material comes from the files of Anne Higgins, Reagan's Special Assistant and Director of Correspondence, and was consigned to Swann by a relative of Ms. Higgins. The auction house made the decision after receiving a notice from the National Archives and Records Administration.

The withdrawn lots include, according to a statement from Swann, a draft of a letter to Felix J. Cuervo, the founder of the Native New Yorkers Historical Association; a note signed 'RR' to an unemployed black Vietnam veteran; and "an archive of over 50 notes from Reagan to Higgins, many written on or relating to letters from citizens addressing the president."

"I wasn't aware of the Presidential Records Act," said Marco Tomaschett, a specialist in Swann's autographs department. "In fact, we've never received a consignment where there were so many letters of this kind. Anyway, we don't normally have this problem."

At the moment, the correspondence is still in Swann's possession, but will not be hitting the block at Thursday's sale.

"It's likely that the material will go back to the consignor, who will then fight it out with the government," Mr. Tomaschett said. "But that has not transpired. We may end up being subpoenaed by the government, but they better hurry."

The sale has around 260 lots, which includes a signed letter by Thomas Jefferson as well as one item dating from Reagan's presidency: a signed holiday card announcing the arrival of a new family dog, valued between $700 and $1,000.

"It also has a paw print from the dog," Mr. Tomaschett said, "which I'm counting as a signature."

Obrist. (Photo by Yang Fudong, Shanghai 2009)

At 8 a.m. two Sundays ago, Hans-Ulrich Obrist was at his midtown hotel, pouring packs of orange powder into a glass of water. He was casually immaculate in a checkered blue suit with a pressed white shirt. Mr. Obrist, co-director of London’s Serpentine Gallery, was in New York for the Frieze Art Fair; the release of his book Do It: A Compendium, published by Independent Curators International; the opening of Expo 1, the ecologically-themed exhibition he helped organize at the Museum of Modern Art and its sister museum MoMA PS1; and a few dozen gallery shows, studio visits, meetings and parties.

"I stopped coffee," Mr. Obrist said. He was speaking with the speed of an over-caffeinated teenager, his arms jittery and cutting the air for emphasis. He sleeps four or five hours a night. He wanted to meet at 7 a.m. I told him I didn't think that was possible. Even this early, I was guzzling a succession of cups of black coffee to jolt myself into something resembling consciousness. Mr. Obrist gets by on "the excitement and the curiosity. And I drink a lot of green tea, a lot of things for the immune system--vitamins and stuff. Because I travel a lot and I always get these colds."

“No coffee,” he added, as if he might really miss it.

Art fair culture has come to define the globalization of contemporary art. After Frieze comes Art Basel Hong Kong, then the Venice Biennale, then Art Basel, in Switzerland. Mr. Obrist, who has curated hundreds of exhibitions and is a friend of artists (his ongoing interview project, which he has occasionally done in 24-hour spurts, has amassed thousands of hours of tape) is seemingly omnipresent at these events.

During a fair, the art world’s social curiosities are magnified. A day becomes a race to see how much you can fit in. Why not try to make it to the dessert course of that third gallery dinner, just to show your face? It's a game to see who can shake the most hands. But for a curator like Mr. Obrist, who prides himself on knowing everyone and everything, it's also invaluable research. Over the course of a single cigarette, I once witnessed him roll up to an art fair in a car, run inside, come back out murmuring to his companion about what impressed him, then get back in the car and head to the next event, like some kind of highbrow European Roadrunner. In an overly hormonal art world, where every opening and after-party signifies some kind of opportunity, Mr. Obrist’s pace alone has become nothing short of legendary.

"I think the art fair is very much a form of urbanism," Mr. Obrist said. "I think something really happens to the cities when such a fair happens. The city becomes an exhibition, it's amazing."

He grew up in Zurich, "addicted" to the Giacometti sculptures in the Kunsthalles. At 16, he was already hanging around artists. At 17, he visited Eric Fischli and David Weiss, the Swiss duo, while they were working on their iconic film The Way Things Go, a carefully calibrated series of chain reactions. That visit set off its own series of chain reactions--he'd travel around Europe seeing gallery and museum shows. ("Trains were my living room," he said.) He visited Gerhard Richter in Cologne. On a school trip to Paris, he snuck away to see Christian Boltanski. He did the same in Rome and visited Alighiero Boetti. The older artists were amused by his ambition and vast knowledge. He wanted to "listen to artists' ideas and try to make them happen."

"Boetti took me to his astrologer and drove me to meet his artist friends," Mr. Obrist said. "He said how bored he was to be an artist because he's always asked to do the same thing. And he told me you can't become a curator who's boring. This was like a short cut of 20 years. I believed one could not just do routine exhibitions. Boetti also said, 'Oh you're so slow, you need to get faster.'"

It was now 9 a.m. and Mr. Obrist was off to a studio visit with a private artist he wouldn’t name who works in secret and didn't want anyone to know she was in town. So, an hour break, and then meet at Cafe Select in Soho, where he would discuss details of 89Plus, an open call collaboration he runs with Simon Castets that focuses on new digital media. I finished my fifth cup of coffee and was so awake I walked all the way from midtown.

It happens to have been at the Café Select in Paris, 20 years ago, that Mr. Obrist came up with Do It. Many of his ideas have emerged out of conversations with others. It was also at a cafe in London that he founded the "Brutally Early Club," a salon-style discussion that meets at 6:30 a.m. And through a discussion with Fischli-Weiss, he designed his famous "Kitchen Show," a group exhibition curated in Mr. Obrist's unused kitchen. ("I never cook and I never actually made a coffee in my life," he said.) The idea for Do It, conceived with Christian Boltanski and Bertrand Lavier, was to ask artists to come up with sets of instructions that could be carried out by other artists.

Today, he was running 15 minutes late for his meeting with Mr. Castets and the young artist Brad Troemel, co-founder of the Tumblr-based art project Jogging. He recently coined the term "aesthlete," which is as good a summation as any of new media art: "a cultural producer who trumps craft and contemplative brooding with immediacy and rapid production."

"Anything I write is a kind of artist statement, indirectly," Mr. Troemel said after Mr. Obrist had hurried in and took a seat. Mr. Troemel was explaining his practice of making fairly useless objects (three donuts balanced between a wooden plank, a watermelon with a handle) and selling them on Etsy, the arts and crafts ecommerce site. Mr. Obrist was frantically scrawling notes on scraps of paper. He explained that he tried to order Mr. Troemel's book, Peer Pressure: Essays on the Internet by an Artist on the Internet, on Amazon, but purchased a book instead by a different Brad Troemel, which he has added to his shelf at home that is dedicated to the wrong books by homonym authors (like by Robin Day, the TV moderator and not the designer and so forth; Mr. Obrist fancies this a kind of evolving group show).

"We need to go," Mr. Obrist said to Mr. Castets.

"We haven't even gotten our order yet," Mr. Castets said.

"Well, we have to get it and get out of here."

Mr. Obrist asked if there were earlier writings by Mr. Troemel that he could look at. By this time, Mr. Troemel had been served his bowl of granola, and, like a well-mannered child, was careful to chew thoroughly and swallow before talking. I could nearly sense Mr. Obrist wincing in these seconds-long interims. The artist mentioned his essay on Dual Sites, the idea of online forums displacing physical gallery spaces and that "our appreciation of a resume is largely made up of recognizing accomplishments that we did not attend."

"My most famous show is the 'Kitchen Show,'" Mr. Obrist said. "More famous than any gallery show or museum show I curated. And it lasted for three months and had 19 visitors, and it was a rumor. So your idea of Dual Sites--it's totally new because of the Internet, but it's always existed. The most famous Marina Abramovic performances were attended by six people and then became a global rumor."

He asked for the check. (Two more cups of coffee on my part.) "We've only got about 20 minutes for the next meeting," he said.

A car was waiting for us outside and we raced around the corner to meet with three of the editors of the online DIS Magazine. "We are very late," Mr. Obrist said. "O-M-G we are very late!"

The DIS office was sleepy, aside from the music blasting through the room. Mr. Obrist rapidly finalized some details about an 89Plus project and asked them how the coffee table book they were working on was going. ("Slowly," each of them said.) Quite significantly, Mr. Obrist took the opportunity to visit the restroom before the next meeting.

"We're supposed to be at Socrates Sculpture Park at noon," he said, a little distressed, outside the DIS offices. "I don't think that's going to work." To no one in particular, he added, "We have to keep to the schedule." There was a brunch hosted by Gavin Brown for Rirkrit Tiravanija, in addition to Socrates, where instructions from Do It were posted for visitors to perform. There was also the Christian Holstad show at Andrew Kreps Gallery, in Chelsea. It was approaching noon, and he needed to be at PS1 for a 12:30 meeting with the museum's director, Klaus Biesenbach. Mr. Tiravanija, Lawrence Weiner and Clifford Owens, among other artists, would be there for talks and performances. Immediately afterward, Mr. Obrist and Mr. Biesenbach were to interview Yoko Ono.

He would skip the sculpture park.

I found Mr. Obrist again at 1:15 p.m., with Mr. Biesenbach in tow. In a fleeting moment of almost cartoonish relaxation, both were rubbing their bellies and talking of the heaviness of their lunch. Mr. Obrist offered a wide smile and took my arm, guiding me into the performance dome, a carnivalesque bubble resting awkwardly in the courtyard, where his event would be held.

The artist Lawrence Weiner came in, his long gray hair, missing from the top of his head, was wrapped in a tight bun at the nape of his neck, and the long scraggly beard, combined with the one silver earring, made him look more like he'd just walked in from a few years on the high seas instead of Jackson Avenue.

"I want to show you my Instagram," Mr. Obrist said, rushing over to him. "You write something down and I take a photograph of it. It's a celebration of handwriting!"

"Oh," said Mr. Weiner. He took Mr. Obrist's pen and wrote on the back of a schedule, "Hans Do It or Perhaps Do It Not."

Mr. Tiravanija entered with his dog, a black French English bulldog mix wearing a red collar that said "Service Dog."

"How does he service you?" asked Karen Marta, Mr. Obrist’s book editor.

"He helps me with my emotional instability," Mr. Tiravanija said.

"So he's your teddy bear!" Mr. Weiner chimed in. "What's its name?"

Mr. Tiravanija pointed to the collar. "HARRY."

"That's my father's name," Mr. Weiner said gravely. This elicited a chuckle from everyone. "I'm not kidding." Mr. Obrist was writing rapidly and saying that he needed a table because he has a "total table obsession. A table diminishes the anxiety of speaking in public." Someone handed him a cup of green tea. The crowd began to seep in.

Onstage, Mr. Obrist asked Mr. Weiner what he thought of Do It, conceptually.

"There is no dancer who doesn't want to be a singer and there is no sculptor who doesn't want to be a painter," Mr. Weiner said. "I find it a reasonably positive thing. I don't know what else I can say about it."

Mr. Tiravanija assured the audience that he "wasn't going to talk as much, I'm just going to do a Do It from the book. Is there anybody who's good with knives? Nobody?" (It was "Gilding the Lily Part V Recipe for Bucky Fuller" and involved burning a brandy-soaked peach with a match and feeding it to his dog.)

Belligerent and unsteady on his feet, Clifford Owens appeared onstage and asked, "Where's Lawrence? Did he leave? He's smoking outside. Go get him." Mr. Weiner appeared in an aisle. "Come up here and stand next to me," Mr. Owens yelled. He didn't budge. "Are you afraid?"

"No, I'm not afraid,” Mr. Weiner said. “I'm just bored."

"I met you at Hans-Ulrich Obrist's dinner the other night and I said you were a big influence on me and you said, 'Is that the best you got?'" Mr. Owens said. Then he proposed his own Do It performance: "I want to cut half an inch off Lawrence Weiner's beard and use it to make a painting which I will then gift to the museum—"

Mr. Weiner interrupted him: "I honestly and truly would like to know this thing about artists gifting things to museums. It has to go the other way. Do I have to participate? Artists are not in the position to be philanthropists."

Mr. Owens shouted back that he didn't know how he would pay his rent this month, and that he was evicted in December. He proposed another performance: Mr. Tiravanija would join him on stage--that idea was shot down with a severe shake of Mr. Tiravanija's head. So another idea: Five people would carry Mr. Owens out of the museum, across the street and into the Shannon Pot--the Irish bar nearby. There, he would stage a "private performance." Slowly, a group of four men stood and gathered at the base of the stage. Finally, Agnes Gund, the collector and philanthropist, stood and helped carry Mr. Owens across the street. The irony was not lost on Mr. Owens.

"Aggie Gund!" he bellowed at Mr. Weiner, resting in the arms of the five volunteers. "Carry me out of the fucking museum, Lawrence! Carry me out of the fucking museum!"

"OK thank you!" said Mr. Obrist, hopping onstage fast and smiling awkwardly. He was joined by Mr. Biesenbach, and everyone watched as Yoko Ono, in a black leather vest, black hat and black sunglasses, idled up to them, the room letting out a collective gasp when she tripped and fell face forward, then breaking into rapturous applause as she jumped back up, went over to a microphone, screeched and squealed for about 30 seconds, made some sex noises and screamed, "Do it!"

She slumped in a chair. Mr. Biesenbach brought up a recent Times article about carbon dioxide levels being at their highest in 3 million years.

Ms. Ono said, "I'm not that worried about the future of the human race because we will do it!"

"You talk about raising awareness," Mr. Obrist said. "How has social media changed your activism?"

Ms. Ono said, "If the Earth is so unbearably bad and we can't survive, what's going to happen is we're going to look around for another planet."

"I was wondering, Yoko, if you are an idealist," Mr. Obrist said.

Ms. Ono said, "I'm a realist. I believe in an incredible super power in us, which is still dormant. We're all just hiding. Through hiding, we're doing a lot of things, really. It's going to be all right. We're going to make it."

At 4 p.m., Mr. Obrist was signing a stack of Do It books in a corner of the performance dome. He was worried that Mr. Weiner was upset by Mr. Owens's performance. "Clifford is always bringing me to the verge," he said, "like I have to react or something."

I noticed a small tear running down the back of his suit jacket, the sole crack in Mr. Obrist's fine-tuned existence. I asked what his plans were. There were still galleries in Chelsea, maybe the Lower East Side.

"I honestly don't know what I'm doing next," he said.

mmiller@observer.com

Sarah Goulet with Pace artist Adam Pendleton.

Paddle8, the online auctioneer founded in 2011 by Alexander Gilkes and Aditya Julka, has tapped Sarah Goulet to be their in-house head of worldwide communications. Ms. Goulet joins Paddle8 after three years working with the PR department of Pace Gallery, which runs four galleries in New York, as well as spaces in London and Beijing. Monday was Ms. Goulet’s first day at the new gig.

“Paddle8 has been refining itself over the last few years,” she told Gallerist. “Now it’s exclusively an online auction house, and through that process I think they distinguished themselves in what was a very crowded field of people trying to do everything. Dealers, collectors and artists have really responded to this model. It’s very artist-friendly.”

Paddle8 holds two types of auctions—benefits in collaboration with nonprofits, and bi-monthly themed auctions hosted on their web site. They have expanded recently, having just opened offices in Los Angeles, and there are plans to open in London and to tap more into the European market.

As for her move from a traditional gallery to the digital realm of the art world, Ms. Goulet said, “There have been some fissures in the gallery system. I think it is still figuring out how to move into the 21st century. A place like Paddle8 seems to be getting there.”

Benefit: Fire Island Pines Performance Series Benefit Party
A benefit that includes performances by Tyler Ashley, Megha Barnabas and Ryan McNamara, plus music by Thinner, Lauren Dillard and JD Samson. Hosted by John Early and Ladyfag. —Michael H. Miller
209 Elizabeth Street, New York, VIP 6-8 p.m., after party at 8 p.m. Tickets $25 to $100, available at iheartfireisland.org

Inaugural Hyperallergic ArtTalk: Klaus Biesenbach
Want to hear Klaus talk about "Expo 1?" Want to drink some Pernod? Want to high five Hrag Vartanian? Sure you do! —Dan Duray
The Bedford, 110 Bedford Avenue, entrance on North 11th Street, Brooklyn, 7–9 p.m., tickets cost money and are sold out but you never know

TUESDAY, MAY 21

Party: Cousin George, "Coming Out," at Santos
Art collector George Haddad re-invents himself as Cousin George with this party for his debut album Coming Out. Videos by Luis Gispert, Kalup Linzy and Nate Lowman. Open bar from 8 p.m. to 11 p.m. —D.D.
Santos Party House, 96 Lafayette Street, New York, 8–11 p.m.

Talk: Matthew Barney in Conversation with Paul Holdengräber at the Public Library
Matthew Barney at the NYPL, pegged to his new show at the Morgan Library and a new book by Rizzoli. —D.D.
Stephen A. Schwarzman Building, Fifth Avenue and 42nd Street, Celeste Bartos Forum, New York, $25

WEDNESDAY, MAY 22

Panel Discussion: “62 Years Later” at Robert Miller
In conjunction with its "Untitled (Hybrid)" exhibition about Lee Krasner, which is curated by Kate McNamara, Anne Pasternak, Heather Watts, Lauren Flanigan, Laurie Simmons and RoseLee Goldberg will discuss gender politics in the arts. —M.H.M.
Robert Miller Gallery, 524 West 26th Street, New York, 6-8 p.m.

Opening: Amy Yao, "Skeletons on a Bender," at 47 Canal
Amy Yao, who may be familiar to riot grrrl aficionados for her work in the very catchy 1990s group Emily's Sassy Lime (their records are still available through Kill Rock Stars website), makes unabashedly elegant, beautiful art out of things like umbrellas, chairs, sticks and pearls. The title alone suggests this will be a strong show. —Andrew Russeth
47 Canal Street, New York, 6–8 p.m.

Screening and Conversation: Dennis Oppenheim at EAI
Curator Jenny Jaskey will introduce early films and videos by Dennis Oppenheim, which will be screened as he meant them to be shown, as multiple projections, and then lead a discussion with an exciting bunch of young artists— A.K. Burns, Ajay Kurian and Yve Laris-Cohen—about Oppenheim's work, and its connection to their own. —A.R.
Electronic Arts Intermix, 535 West 22nd Street, Fifth Floor, New York, 6:30 p.m., $7/$5 students, RSVP to rsvp@eai.org

THURSDAY, MAY 23

Opening: Takuma Nakahira, "Circulation: Date, Place, Events" at Yossi Milo
Japanese photographer Takuma Nakahira generated his work for the 1971 Seventh Paris Biennale over the course of a week during the exposition itself, spending seven consecutive days documenting everything he encountered, from breakfast to bouquinistes, and seven nights developing the photographs, which were exhibited the following day. We're eager to see the show, which will include 75 pictures (and to learn his secrets for staying up all week). —Zoë Lescaze
Yossi Milo Gallery, 245 10th Avenue, New York, 6-8 p.m.

Panel: "Where Is Jack Goldstein?" at the Jewish Museum
Art historian Douglas Crimp, who included Jack Goldstein in his seminal 1977 "Pictures" show at Artists Space, and Jens Hoffmann, the deputy director of the Jewish Museum, which is hosting a Goldstein retrospective through Sept. 29, will "discuss Jack Goldstein as a pioneer of conceptual art practices." —A.R.
Jewish Museum, 1109 Fifth Avenue, New York, 6:30 p.m., free with pay-what-you-wish admission, RSVP required

SATURDAY, MAY 25

Opening: "Ellsworth Kelly: Chatham Series" at MoMA
Ellsworth Kelly spent 1971 creating L-shaped works, each composed of two monochrome canvases, in his Chatham, N.Y., studio, but barely anyone has seen the complete series since. In celebration of the artist's 90th birthday (coming up on May 31), MoMA is reuniting the 14 paintings in its fourth-floor galleries. —Z.L.
The Museum of Modern Art, 11 West  53rd Street, New York, 10:30 a.m. - 5:30 p.m. 

Update, May 21: An earlier version of this post incorrectly stated the dates for the events at Electronic Arts Intermix and 47 Canal. They take place Wednesday. We apologize for the error.

(Courtesy poestories.com)

The Edgar Allan Poe House and Museum in Baltimore will reopen in October. The museum closed in September 2012 due to lack of funding. The new museum will focus on the story of Poe in Baltimore, as well as on the house itself.

More from the Huffington Post:

Ann Barton Brown, one of two museum consultants hired to recommend a plan for interpreting the Poe house for visitors, said the assignment proved a welcome challenge.

"We are trying to preserve as much of the spirit of Poe in the house as possible," she said, "so when you go in, you really feel Poe." The narrative, she said, will also talk about what Baltimore was like while Poe was living here.

(Courtesy beyoncearthistory.tumblr.com via The Guardian)

A look inside the Nahmad family. [NYT]

A little late to this, but worth a listen: fashion-trend forecasters say that Dubai and Frank Stella are hot. [NPR Planet Money]

Here are some obscure Dalí watercolors of rather erotic fruits. [The Guardian]

Thomas M. Messer, a pioneering director of the Guggenheim, has died at 93. “He brought an old-world charm and values to an American institution,” said Lisa Dennison. [NYT]

Here's a preview of Art Basel Hong Kong. [WSJ]

Beyoncé as art historian. [The Guardian]

New York artist takes photographs of his neighbors without them knowing, sells photographs in gallery. [Detroit News]

Mark di Suvero. (Courtesy nga.gov)

The sculptor Mark di Suvero was awarded a gold medal by the American Academy of Art and Letters at a ceremony at the academy's headquarters last night.

He joins some good company: the novelist E.L. Doctorow was also awarded a gold medal, and three new members were inducted into the elite group--Richard Tuttle, Terry Winters and Ward Just. Bob Dylan was also named an honorary member (the academy couldn't decide whether to honor him for songwriting or music; presumably, his other role as a painter was not a consideration).

Mr. Dylan, according to Rolling Stone, did not show up at the ceremony, which had a keynote address delivered by the writer Michael Chabon.