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Every month, MetCollects introduces one work of art recently acquired by the Met. We invite you to have a first look with us.

The Martyrdom of Saint Ursula, the last documented painting by the great Caravaggio (1571–1610), will be on exceptional loan from the Banca Intesa Sanpaolo in Naples and presented with another of the artist’s final works, The Met’s The Denial of Saint Peter, created in the last months of his life.

This is the tale of an artist who for ten years has been very secretly working away on a repertoire of works that will reinvent his creation. This is the tale of Damien Hirst (born 1965), who is attempting a resurrection in Venice by way of a sprawling and imagination-defying exhibition. It’s been an awfully long time since we’ve seen a contemporary art show displaying this degree of megalomania.

The new exhibition at the Musée d'Orsay, ‘Beyond the Stars: The Mystical Landscape from Monet to Kandinsky’, explains how artists have been on a quest for enlightenment through contact with nature. The show’s astonishing list of credits demonstrates the pulling power of the Orsay when it comes to lending rare and precious works.

You can’t mistake her. She is coiffed like a contemporary Capuchin monk with her two-tone haircut, white at the roots, burgundy at the tips. She walks slowly but her spirit fizzes like lightning. Agnes Varda is the high priestess of the celebrated French New Wave from the ’60s and is the subject of an excellent exhibition, the first ever in New York, at Blum & Poe.

As the first UK retrospective of Fahrelnissa Zeid (1901-1991), this major exhibition will gather paintings, drawings and sculptures that span over 40 years in the career of this pioneering artist, revealing her to be a pivotal figure in the international history of abstract art.

In art, even contemporary art, chronology matters. In other words, who did what before whom. In video art, we often reference pioneers like Gary Hill, Bill Viola and Bruce Nauman. But a huge injustice has been committed and it goes by the name of Peter Campus (born 1937).

There isn’t another fair in the world that assembles this many treasures for lovers of art history, from ancient to contemporary art. The most striking booth at this year’s edition of Tefaf Maastricht belongs to Dickinson, the London and New York-based gallery, and serves up a breathtaking list of credits.

Opening March 13 at The Metropolitan Museum of Art, Paradise of Exiles: Early Photography in Italy will focus on Italy’s importance as a center of exchange and experimentation during the first three decades of photography’s history—from 1839, the year of its invention, to 1871, the year Italy became a unified nation.