Though she was born in Paris and has lived in New York for the last 60 years, the first comprehensive Louise Bourgeois exhibit debuted at London's Tate Modern last year. But now the artist's adopted city is fortifying the show with added insight into the sculptress' last 97 years. "A Life in Pictures," curated by Nancy Spector of the Guggenheim Museum, which opens today, will feature more than 75 personal and professional photographs cherry-picked from the artist's archive (including some that reveal Bourgeois' thoughts on fashion) . These images will be shown alongside entries from her journals and sketchbooks. As an added plus, a stellar roster of contemporary art stars such as David Altmejd, Karen Finley, and Marina Abramovic will lead walking tours of the exhibition.

Androgyny and hyper-femininity weave in and out of fashion, but Ursula K. Le Guin's classic science fiction novel "The Left Hand of Darkness" depicts a universe where the inhabitants go one step further and change genders every lunar cycle. With Le Guin in mind, curators Sarvia Jasso and Yasmine Dubois of New York's Project gallery have gathered a group of 15 artists who freely scramble gender boundaries. Included is a sculpture by Sarah Lucas of a rusty bed frame, pantyhose, and bucket, arranged to mimic male and female genitals. And Michael Bilsborough has created—or, as he puts it, "given birth" to a mural: "Born full-grown, like the goddess Athena, he is already 11 feet tall and much smarter and better looking than his father."

London-based Chantal Joffe began painting from fashion magazines as "a ready-made, endless source for images of women." But for her new show at London's Victoria Miro gallery, Joffe presents a body of work painted from life. Invited behind the scenes at Paris fashion week, Joffe acts as an updated Degas—who painted ballerinas as they prepped backstage at the Paris Opéra—of the modeling world. But while Degas was interested in depicting the dancers' stretching and preparing, Joffe aimed to capture glimpses into the girls' identities. "In Degas you get an extreme physicality: bending backs and cropped legs," she says. "In one sense what I saw backstage was like that, perhaps, but it was also something completely other. You are plunged into thinking about the sort of girls who model and what was happening to them socially."

Finally, a magazine that understands that just because you have an ever growing pile of work papers scattered across your living room, it doesn't mean you're not interested in what your personal space looks like. Introducing Apartamento, a biannual publication spotlighting design and interiors via intimate snapshots of office and living spaces. Founding editors Nacho Alegre and Omar Sosa sought out a cast of creatives to profile in the debut issue (including director Mike Mills and CSS band member Luiza Sá), none of whom turned down the request to be photographed. Here's hoping issue number two, which will debut in the fall, will be met with the same open-mindedness.

Cosmetics ads promise to turn faces into works of art. In a related move, the seven artists, designers, and fashion photographers in the "Lip-gloss and Lacquer" show at London's Spring Projects gallery pay homage to the seductive allure of beauty products with works that emulate the flawless finish and high sheen of a lip lacquered with lip gloss (in the case of Lawrence Weiner's sculpture made from lipstick, this is literally true). Though the works all radiate a shiny aesthetic, not all the participants in the show are wholeheartedly supportive of high-fashion spin and the high hopes it generates. In other words, the magic is leavened with reality.

Cool women cooling themselves off wearing hot clothes in hotter climates are the subjects of "Echo From Cairo," Egyptian painter Hani Rashed's new show at Dubai's B-21 Gallery. The simple, cartoon-inspired images of faceless girls trying to find relief from oppressive temperatures represent "simple people, with whom I could engage in a way others don't. They are people that attracted me, people I felt close to," the artist says. Although it's unlikely that anyone would want to be close to anyone else during the summer (this is one is proving especially scorching) in Dubai, besides in a nicely chilled shopping mall. Or art gallery.

"I was just out of school and I really had no idea where I could show my work," explains Sophie Morner of her inspiration for Capricious magazine, which just released its eighth issue. "It turned out that a lot of my friends had no idea where to show their work, either." A similar inspiration drove Morner to create Capricious Space in Williamsburg. The new gallery opened on Friday with a show of photos from the new Capricious magazine; later this month, the space will play host to an exhibit featuring work by artists such as Mirabelle Marden. Future shows in the works will be guest-curated by the likes of photographer Collier Schorr and Hedi Slimane. For all the starriness, Morner is characteristically low-key about her new project. "I don't even want to call it a gallery, you know? I'd like it to be a place where lots of stuff can happen, like we can have a thrift shop for plants, for example." A thrift shop for plants? "Well, people move, and they have these plants that get left behind. I'll be happy if Capricious can be the place for those kinds of random things."

When Hani Rashid, the founder of radical New York-based architecture firm Asymptote, isn't designing a building in Abu Dhabi or overseeing the construction of 166 Perry Street, the fabulous new residential building currently rising up on the West Side, he's organizing exhibitions. Currently on view at Phillips de Pury & Company in New York, "Atmospherics" is a formal investigation of objects being subjected to variables such as speed and movement. As the building blocks for his works, Rashid uses a unique, geometric form called M-Scapes (Motion-Scapes), which straddle the line between object and architecture. "These days," explained Rashid, "you have buildings that look like objects and you have objects that aspire to become buildings. The most important works of the twentieth century blurred these lines." Accordingly, the stunning "LQ Chandelier de Pury" begs the question: ornate chandelier or the show's pièce de résistance?

In 1974, when Elias and Florence Katz founded the Creative Growth Art Center in the San Francisco Bay Area with the intention of showcasing the work of artists with developmental, physical, and mental disabilities, they never thought that 34 years later they'd be opening the doors to an international outpost. But this week in the Canal St. Martin neighborhood in Paris, the couple is opening Galerie Impaire ("the odd gallery"), thereby marking "an important step in the evolution of how artists with disabilities are being seen as part of the contemporary art world" says CGAC director Tom di Maria. In its quest to blur lines, the space will show works from artists with disabilities (such as William Scott, above) alongside bodies of work by contemporary, self-taught artists, including a Creative Growth artist portrait series by New York photographer Cheryl Dunn.Galerie Impaire, 47 rue de Lancry, Paris, 75003.

Fake Estate, Julia Trotta's diminutive Chelsea Arts Building gallery, hosted the opening of its first group show yesterday. Curated by photographer Glynnis McDaris, "What Comes Naturally" takes flowers as its subject. Eleven artists riffed on the theme, with Liz Goldwyn's gold-dipped conch shell buckle standing in for wearable art, while Sarah Wood's black paper and vinyl rose sculptures could just as easily have been ill-fated Manhattan house plants. Flowers were on the minds of Armory Show alum Marc Swanson and fashion photographer Joe Mama-Nitzberg, whose photographic renderings of Halston (an orchid) and the Germ's Darby Crash (a wreath of blue hydrangeas), germinated from the couple's gay icon project. The duo will stick to using organic materials to commemorate the rest of their subjects, one of whom is rumored to be Anna Nicole Smith. Make space on your living room wall.

Paying six to eight figures for big-name contemporary art is de rigueur, but those with considerably less disposable income floating around can take heart: New York's seventh annual Affordable Art Fair (AAF NYC) is on today through Sunday at Chelsea's Metropolitan Pavilion. Developed to appeal to younger buyers and emerging collectors, this year's fair features original prints, paintings, photography, and sculpture from over 75 galleries in 12 countries—75 percent of which will sell for from $100 to $5,000. "It's always been thought of as a way to break down those barriers between people who are interested, but maybe aren't that experienced buying artwork, and the gallery experience, which for some can be a little intimidating," AAF NYC director Laura Meli explains. Also included this year: free lectures, printmaking and sculpture demonstrations, and a children's art studio. "That's really the idea behind the fair," Meli says, "making art truly accessible to people."

Though bluestocking feminists may have bristled at Kate Marshall's pinups preening in robin's egg hosiery, the 26-year-old English artist's show of paintings on the emerging artists' online gallery www.degreeart.com and in its bricks-and-mortar space on London's hip Vyner Street has the feisty flirtatiousness that post-Madonna women's rights crusaders approve of. Drawn in the loose and limber style of fashion illustrations and inspired by glossy editorials, Marshall's work is intended to offer a "smutty, seaside postcard humour's take on feminism, femininity, and the sexualized female image in popular culture."

"I saw all of her pieces of writing," artist Sophia Wood explains of her eight-year-old daughter, Mira, "and I just thought, Oh my God, I have to do this." The "aha" moment in question? Wood's decision to embroider selections from the aforementioned text on her daughter's vintage Liberty-print baby dresses, 12 of which will be on display starting tomorrow at ABC Carpet & Home in Manhattan. Fittingly, the artist let her daughter choose the installation's title, "MTLW—Am I Not Supposed to Keep Any Secrets From You Mummy?," which also bears Mira's initials. "It kind of made such mad sense to see all these frilly, hopeful things that a young mother gives to her daughter, and then the daughter kind of responds to that." Just don't expect any future collaboration between the two. Says Wood, "Throughout this whole thing she said to me, 'Oh mummy, I'm not going to give you any more work!' "

Manolo Blahniks, Alexander McQueens, and other masterpieces of shoe design artistry littered the entrance to the opening of Pipilotti Rist's video installation at Art Basel a couple of nights ago. The reason? Rist had posted a handwritten note in German and English urging viewers to "kiss your neighbor! And leave your lovely shoes by the door!" Obedient art fans entered the purple velvet-lined room, lay on red sofas, and watched a video of hippies rolling on the floor that was being screened on the ceiling. A day or two later, it seemed that a few non-flower children were hoping to top up their shoe selection from the stash by the door. When I emerged from Rist's ode to love, I found another woman covetously clutching one of my Costume National wedges. After rescuing my shoe from her and hearing her mutter something (probably not very hippie-ish) in Italian before slinking away, I turned to the guard, who shrugged at the barely averted injustice: "Art," she said, which seemed to be her cryptic suggestion that maybe I was not toeing the Rist line by refusing to share my shoes with the stranger.

Though contemporary art from the Middle East is grabbing international attention, the media still tends to portray the area's culture as limited and restrictive. Kudos, then, to Tate Britain, which is staging "The Lure of the East: British Orientalist Painting," a show that reminds us that the region was once the subject of Westerners' most opulent and sensual fantasies. With 110 paintings and watercolors from collections around the world, the show presents a lush and vibrant vision of Mediterranean and Middle Eastern culture as a prime source for English Romantic reverie from the seventeenth through the twentieth centuries. Major works by Pre-Raphaelites William Holman Hunt, Richard Dadd, Lord Leighton, and John Frederick Lewis create a deliciously dreamy world of languid harem girls, sun-soaked architecture, exotic gourmet delights, and other sights that served up an imaginative, if stereotypical, repast for viewers in dreary England who yearned for sunny, faraway lands.

While it may beat working a day job to sustain after-hours creativity, life as a full-time artist isn't easy. Big rewards can be sometimes be reaped, but usually only after financial struggle and risk of failure. Yet a few brave artists put more than just self-esteem, money, and creative ambitions on the line. The "Jack *%ss" exhibit at New York's Susan Inglett Gallery assembles a trove of documentation depicting extreme stunts by art's greatest daredevils, martyrs, and masochists. Conceived as a contrast to the pointlessly puerile antics of Johnny Knoxville, "Jack *%ss" centers around photos of Chris Burden's legendary Vietnam-era performance "Shoot," in which he had an assistant shoot him in the left arm with a pistol. Other works on view demonstrate endurance and integrity by Marina Abramovic, Roman Signer, the Viennese Actionists, Vito Acconci, Sophie Calle, Kate Gilmore, Rodney Graham, Yves Klein, Sara Greenberger Rafferty, and Carolee Schneemann, all of whom willingly put their *%ss on the line for art.

The works in "Arctic Hysteria: New Art From Finland," now on view at New York's P.S. 1, are marked by a dark, eccentric humor. Tellervo Kalleinen and Oliver Kochta-Kalleinen's "Complaints Choir in Chicago" elevates griping into grandiose four-part harmony. Anni Rapinoja's "couture" pieces feature shoes, coats, and hats made from reeds, pussy willows, and other leaves, mimicking patterns found in nature. One video, by Tea Mäkipää, presents the landscape from a camera affixed to a reindeer's antlers (above), while the Pink Twins' videos examine human perception through the use of digitally manipulated source material—like satellite pictures from NASA—and electronic music. "The sensibility is very informed, very reserved," explained co-curator and P.S. 1 Director Alanna Heiss at the opening reception last night. "It's beautiful and extraterrestrial." We spoke with the Pink Twins' Juha and Vesa Vehviläinen, who were in New York for the first time. "People look at patterns and images and say that this reminds them of something, which is central to the way our minds work," Juha said. "We try to activate those connections."

As Liverpool revels in its status as 2008's European Capital of Culture, Tate Liverpool is launching a sparking retrospective of works by Gustav Klimt, the Viennese painter whose decadent Art Nouveau style has been the gold standard for opulent art since the twentieth century began. In "Gustav Klimt: Painting, Design and Modern Life in Vienna 1900," the first exhibition in Britain devoted to the founder and leader of the Vienna Secession, Tate Liverpool charts the widespread influence that Klimt's use of gold leaf, gilt, and sensual lines has had on architects, designers, and other artists. Major paintings and drawings, including his 1918 painting of a tiny infant snugly enveloped in a mound of brilliantly patterned fabric and his 1904 painting of a radiant gold mermaid embracing another sea sprite, are on view alongside work by the architect and designer Josef Hoffmann, whose gold- and pearl-encrusted belt buckle is one of the stars of the show. It would be the perfect accessory to wear with the Klimt-inspired couture that John Galliano launched this season at Dior.

"Everyone has gone bloomin' mad this year!" says installation artist Zoe Bradley. She means that literally—stores in London's West End have gone wild for botanically inspired window displays, and since her specialty is flowers, Bradley is in demand. It helps that she's got a fashion connection—she started her career at Alexander McQueen, making stiff, doily-type clothing for one of his shows. "I wanted to use a material that was sculptural and timeless, and found that with paper," she explains. "So I ended up going from fashion designer to installation artist. In reality my job crosses so many boundaries it's all a bit of a blur." Bradley's work can currently be seen in the window of Pringle's Bond Street shop (above), where her cluster of sculptural roses seems to tumble straight out into the street. And come the first week of August, her work will be on display at the five Kate's Paperie stores in New York. "Who knows, if this continues I may think of becoming the haute couture paper version of Interflora!"

Dust bunnies, dirt, old toothpicks, sugar cubes, and tiny pieces of poo are usually banished from galleries, not presented as important art. But Tom Friedman is an artist beloved for his witty and wondrous ways with the ickier aspects of everyday life. In "Monsters and Stuff," the American conceptual sculptor's first solo show at the Gagosian Gallery's London branch, he presents a series of works made of scrap wood, small drawings on tinfoil, and huge paper collages, including one titled "Overseer"—a nine-foot-tall naked monster covered in body hair and wearing nothing but giant sneakers and socks. Friedman explains that "from a figurative standpoint," the "monsters" of the title represents the abnormal, which is open-ended, whereas "and stuff" "states an unresolved conclusion." Happily for us, "Monsters and Stuff" resolves itself by making the little things in life seem admirably more than normal.

Street art strives to shock the bourgeoisie, but as suburban kids keep picking up spray cans and graffiti becomes more like urban decor than urban blight, the middle classes are becoming blasé about artists' attempts to anger them. "The Disenchantment of the Bourgeoisie," London-born, Berlin-based Anton Unai's second exhibition at CircleCulture, Berlin's top "Urban Fine Arts Gallery," plays with this conundrum. The exhibition, which opens tomorrow, consists of a site-specific installation and relics from the artist's unauthorized conversion of an abandoned tattoo parlor into a showcase for his art. Unai converts rusty sheet metal and discarded newspapers into canvases paying homage to literary references, African iconography, and artists such as Jean-Michel Basquiat and Sir Howard Hodgkin. Our verdict? It's most likely to delight viewers from all social strata.

With all the nineties nostalgia in the air, it's no surprise to see the release of Olivier Zahm and Elein Fleiss' "Purple Anthology" (Rizzoli), which can be read as an authoritative guide to turn-of-the-millennium cutting-edge culture (or, as the 16-year-old magazine might put it, to "art, prose, fashion, music, architecture, sex"). The book consists of photos of pages and spreads from old issues, with every year accompanied by a personal essay by a Purple affiliate (Chloë Sevigny, Terry Richardson, et al.), full of anecdotes both blasé and poignant. From 1994, here's Kim Gordon on the death of Kurt Cobain: "Because he was a public figure, the communal mourning was a T-shirt, no matter how exploitative it seemed. The difference, though, is that if you knew the person, then their death is not cool, it's not a cool stance. It's not a cool T-shirt."

Liz Craft's art has a wacky, trippy, sixties vibe that evokes Grateful Dead covers, Krazy Kat, and R. Crumb's wise old Mr. Natural. The L.A.-born, -educated, and -based sculptor's work includes bronze cactus plants sitting in supermarket carts, a dilapidated sofa occupied by a band of birds, and a piece descriptively titled "Poop With Flies." Craft brings her mischievous fun to Santa Monica's Patrick Painter Inc. gallery, in a show that purports to "toy with themes of life, growth, and death through the artist's radical sense of humor and exquisite craftsmanship." But big metaphysical issues aside, Craft's wily wit is compelling enough in its own surreal way.

Hollywood may like to pretend that middle-aged women don't have sex lives, but the Danish artist Jesper Just knows otherwise. In his first London show, which opens today at the Victoria Miro gallery, Just will premiere his newly commissioned film trilogy, "A Voyage in Dwelling," starring renowned Danish stage and television actress Benedikte Hansen. Shot on an isolated island to an original soundtrack by theremin composer Dorit Chrysler and American transgendered singer/songwriter Baby Dee, the trilogy explores Hansen's fantasies and insecurities. And though she's past what some might consider her sexual peak, Just's art empowers her to serve as a model for women blossoming into real maturity.

Some books tell the story of how seemingly insignificant things (salt, codfish) changed the world. Poppy King's "Lessons of a Lipstick Queen: Finding and Developing the Great Idea that can Change Your Life" (Atria) takes a more micro view: It tells how a minor accessory changed Ms. King herself—and how it could do the same for you. Alongside guidelines to exploring your entrepreneurial potential, King tells the story of how she went from a teenager alienated by the glossy pink fashions of 1980's Australia to having her own million-dollar makeup line sold at Barneys (and becoming an answer in the Australian edition of Trivial Pursuit in the process). Inspired? That's just what the author intended. "I wrote this because of the hundreds of people over the years who have asked me how on earth I managed to start a lipstick brand at 18," King says. "And then they revealed some great ideas of their own that just needed a gentle push to action. I wanted this book to be that gentle push!"

For most people, fire is a destructive force. For Louisiana-born, Los Angeles-based John McAllister, it's a muse. Working from thousands of news photos showing flames ravaging homes, forests, and fields across rural America, McAllister has spent the last six years creating a series of luminous, realistically rendered oil paintings of his burning obsession. These form the basis for his debut exhibit at New York's James Fuentes LLC, which opens tomorrow. Porno for pyros? You be the judge.

First there was Dia: Beacon, the highly praised adaptation of an historic printing factory into a world-renowned contemporary art museum. Now, there's Electric Windows, the second factory-turned-art destination to grace this idyllic Hudson River Valley town. Situated in a former electric-blanket factory at the foot of Mount Beacon, the aptly named Electric Windows is a 12-month-long art installation that will use the factory's two dozen 8x12-foot windows as the frames for 24 different works of art. A mix of local and internationally acclaimed street, Pop, and graffiti artists will gather in Beacon this coming weekend to create live artwork and subsequently install it onto the building's exterior. With the concept of exhibition turned on its very head, art lovers from far and wide are sure to flock.

George Balanchine's impact on contemporary ballet can't be overestimated, but the rigidity of his teaching is often criticized. Israeli-born and Los Angeles-based artist Elad Lassry's untitled super 16mm film, which goes on view at John Connelly Presents in New York today, joins the debate on whether Mr. B liberated the medium, exploited his dancers, or did both. In Lassry's video, New York City Ballet dancers Megan LeCrone and Ask La Cour perform the pas de deux from Balanchine's 1957 "Agon." The cameras remain fixed at specific points stipulated in dancer and choreographer Doris Humphrey's diary of observations, which was published after her death in 1958, as "The Art of Making Dances." As the two dancers move in and out of the frame, it seems as if Humphrey were a ghost watching the progression of dance under Balanchine.

Racing fans who can't make it down to Pimlico on Saturday consider a trip to the American Museum of Natural History instead. This weekend, the museum opens "The Horse," a new exhibit exploring the ancient relationship between horses and the humans who couldn't have developed modern agriculture, cities, or warfare without them. The dioramas dedicated to equestrian sports such as polo, fox hunting, and thoroughbred racing point up the horse-y influence on fashion, as well—Carolina Herrera's Fall show, to wit—in addition to serving as a useful reminder to get bets in on the Preakness. Post time is 6:15 p.m.

Josh Sparks, Imitation's new owner, has given fresh life to a company whose 2001 debut show was held in an East Village funeral parlor. Matt might be gone, Tara may be history, and vintage redux is a thing of the past, but one thread that binds the Imitation of old to the new is a fascination with the theme of resurrection, which will be the subject of a collaborative photographic exhibition that launches on Friday at the National Arts Club. Participating artists, including Mark Borthwick, Cass Bird, and Katerina Jebb, were invited to explore the theme in any way they liked, so long as they used one Imitation garment in their work. "I don't care if they burn it," Sparks said. "This is not a commercial project or a fashion campaign." What it is, he explains, is a reaction to a collective, "visceral need for resurrection—culturally, politically, economically, and environmentally." The project also has more pragmatic ramifications: The photos will be auctioned on June 3 to benefit the National Art Club's outreach programs.

What qualities does the color blue have that best illustrate feeling blue? Questions like this were the inspiration behind German animation artist Sebastian Buerkner's new solo show at London's Showroom gallery. His aim is to represent different emotions through movement, and to this end he uses speed, weight, color, form, and clarity of line to illustrate the feeling of, well, feelings. Using flash, Buerkner hopes to unlock each viewer's subconscious and in the process carry out a high-tech form of hypnosis. So, the next time you feel an irrational mood swing, you can blame it on the emotional trigger of a particular hue, which sounds much saner than putting it down to an irritating colleague or bad lunch experience. Or at least more scientific.

For almost 60 years, illustrator Edmond Kiraz's "Parisiennes"--the title of his first-ever retrospective, which opens today at Paris' Musée Carnavalet—have been the embodiment of the stylish fille. His iconic women, with their wide-set eyes, button mouths, and serpentine figures, have appeared in international publications and ad campaigns (Perrier, Nivea) and were for three decades a regular feature of the now-defunct weekly Jours de France. Whether pouting alone in her boudoir or striding down the sidewalk with an armful of shopping bags, the Kiraz girl is incontrovertibly chic: arch, swishy, frivolous to the core. Her appeal is heightened by Kiraz's droll and affectionate brand of satire, which is teased out in captions that fall somewhere between the bubbleheaded and the brilliant ("Nymphet to her date: 'There are many different women in me. How can you expect me to be happy with one man?' "). The show, which runs through October 26, features some 230 watercolors, gouaches, illustrations, and related archives and documents, as well as a separate room for the racier renderings Kiraz has been doing for Playboy since 1970.

A photo, as they say, is worth a thousand words. Give or take: There have been at least a million words wasted on that Miley Cyrus snap in the current Vanity Fair, and about all those camera phone shots of your weekend in Tijuana, well, the less said the better. At any rate, there will be plenty to talk about, and deservedly so, at the first edition of the New York Photo Festival, which kicks off today in DUMBO. Spearheaded by powerHouse Books impresario Daniel Power and VII Photo Agency's Frank Evers, the festival comprises four curated pavilions and a host of satellite gallery exhibitions, and will also feature interactive photo fun along the lines of seminars, book signings, and workshops. The aim, according to organizers, is to give New York City—long a breeding ground for great photography—a photo festival worthy of the town, one that can eventually rival the annual standard-bearing one in Arles. About 100,000 visitors are expected to attend the inaugural event, which continues through the weekend. For more information, go to www.nyphotofestival.com.

Though Friday's gusty winds and perpetual rain weren't the ideal way to kick off the BklynDesigns trade show, your faithful Style.com correspondent still made the trek out to DUMBO in search of new products and fresh talent. Located front and center at St. Ann's Warehouse was Takeshi Miyakawa's (master)piece, Fractal 23, "a playful modular drawer system where each compartment requires a consideration of what to store." Formerly the model maker for Rafael Viñoly Architects, Miyakawa expresses a craftsmanship that's supremely Japanese. His work immediately brings to mind the minimalist and boxy aesthetic of the Tokyo design firm SANAA, who designed the New Museum. At nearby Smack Mellon, the "wall sculptures" of Eric Johnston, a composite of wood and lacquer, also impressed. Johnston, who uses reclaimed wood found on the street, invoked the work of both Jasper Johns and Frank Stella. If the level of talent at BklnyDesigns was any sort of harbinger, next weekend's International Contemporary Furniture Fair promises to be a smash hit.