The Whitney Museum is currently playing host to some excellent exhibits. William Eggleston: Democratic Camera, the photographer’s first retrospective in the US, is impressive in breadth, yet only scratches the surface of Eggleston’s oeuvre. As a passive admirer of Eggleston’s work, I was already familiar with his sumptuous dye transfer prints and penchant for the quotidian. What I had failed to observe previously, though, was the (seemingly) unconscious way in which he framed his shots. Limbs and signs are cropped casually, horizon lines sit askew and magnified objects assume new identities.

There’s something captivating about being able to tell a story with an economy of means. This is what makes Alexander Calder: The Paris Years, 1926—1933 such a treat. Long before he created his signature mobiles, Calder began his artistic career in Paris crafting toys, animal sculptures and wire caricatures. His whimsical one-man circus, aptly titled Calder’s Circus, is a charming demonstration of childhood imagination.