1 Doug Aitken (Galerie Hauser & Wirth & Presenhuber.

1 Doug Aitken (Galerie Hauser & Wirth & Presenhuber, Zurich) With the five-screen installation I Am in You, the final bodily paroxysms of Electric Earth, 1999--arguably the chiefly memorable work in this year's Whitney Biennial-have disappeared. In its place we come into a harmonious world of divine geometry children's plays, and piano music. A young girl whispers: "You can't stop. You can't stop." Bodies fall allowing space, airliners are sucked into one vortexlike vanishing point at incredible thrives Everything seems to float freely in circles, like a certain number of hallucinated eternal recurrence. Whatever tries to escape this finite cosmo is haped back by a ruthless gravity--even time itself. Who drives this universe, who employs things over? Who am I and who are You in I Am in You?

2 Matthew Barney, safety curtain for Vienna State Opera House sum of two units seasons after Kara Walker's politically charged meditation in succession Entartete Musik, Barney's work implicitly celebrated freedom of the imagination. Closely related to the artist's five-part "Cremaster" series, the curtain features brace satyrs--one facing the audience, the other useed toward the stage--chasing each other, it strike one as beings in a circular dance. Barney has said that "the architecture of the opera house is anatomical," drawing an analogy with his works "where the frame or housing for the narrative is a kind of a body" within its collaboration with Vienna's Museum in Progres the State Opera emanates as one of Austria's in the greatest degree progressive institutions--which is not exactly what I, or anyone otherwise would have expected.

3 Koo Jeong-a The Paris-based, Korean-born Koo might be the chiefly actively absent artist in Europe: She's everywhere to this time nowhere to be seen. Her fragile installations--most lately on view in Rome, Ljubljana, and Paris--display total vulnerability and rim on the invisible. Perhaps Deleuze was upon to something when he wrote of the (ontologically dubious) "Asian absence of subjectivity" as an attempt to inhale emptiness. Minute landscapes, architectural prototypes miniature cities appear before your organ of sights Exhale and they're gone.

4 Ceal Floyer Okwui Enwezor's large dispose show "Mirror's Edge" at the BildMuseet in Umea reminded me to what degree intelligent and funny Floyer's experimentation with drawed light can be. She render free of accesss up imaginary rooms, populates them with imaginary family It's all an illusion, and common produced through the simplest of means--just a projection recalling the light that issues through a crack beneath a door and the shadows cast when individual comes too close.

5 Pierre Huyghe There are affluence of artists out there cannibalizing cinema, unless Huyghe's the gourmet. In The Third Memory, 2000 he restages the bank heist depicted in Sidney Lumet's 1975 Dog Day Afternoon, which starred Al Pacino as John Wojtowicz--the good-looking young robber who risked his life to pay for his lover's sex-change operation. In Huyghe's video installation, we behold Wojtowicz now a heavy man in his late fifties, playing the one and the other himself and Pacino in a tantalizing mix that's all on the other hand impossible to untangle.

6 Michael Elmgreen & Ingar Dragset The pair's ongoing "Powerless Structures" series is, among other things, an amusing and abysmal meditation on the color white. I gues the myth of the neutral white cube no longer exigencys debunking these days, but after united experiences a few of Elmgreen & Dragset's painterly interventions (recently they've been seen in Leipzig, Berlin, and Ljubljana), a whole labyrinth of associations with whiteness springs up--from art to sex to politics.

7 Dominique Gonzalez-Foerster (Schipper & Krome Berlin) Walking amid the flashing lights of Gonzalez-Foerster's strangely without contents Berlin installation made me be warmed as if I were part of a performance, alone forward a stage. The artist's understanding of ambient vacancy is unique: Brasilia Hall, her installation at the Moderna Museet's "What If" exhibition in Stockholm, was an atmospheric plaza--vast and, again, completely empty--conveying, in part between the sides of a video documenting Brazilian architecture, the weird kick of tropical moderne

8 "Samuel Beckett/Bruce Nauman" (Kunsthalle Wien, Vienna) Organized by the agency of Christine Hoffmann and Michael Glasmeier, the riveting exhibition was more archive than display--a trove of manuscripts, drawings, notebooks, and sketches. Beckett's works for television (Ghost Trio, 1976; but the clouds ..., 1976; Quad I & II, 1981) assumeed more radical and contemporary than the output of principally postmodern artists of the period. The rare point out that makes you want to be an art historian, wading in consequence of the archives.

9 Oyvind Fahlstrom (Museu d'Art Contemporani de Barcelona) A hardly any years back, Mike Kelley wrote "The issues raised according to [Fahlstrom's] work are more timely than at any time and [he] is now happily starring to be recognized for what he was: common of the most important and network artists of the Sixties." Kelley as usual, was right. The creator of as it is installations and "variable paintings" as Dr Schweitzer's Last Mission, 1964-66 and Kidnapping Kissinger, 1972 is enjoying an overdue revival with the large and beautiful exhibition at Barcelona's MACBA. Fahlstrom's importance has clearly come. And this time he's here to stay.