Jason Farago

The former Saddam Hussein Gymnasium stands on the east side of the Tigris in Baghdad, next to Iraq’s national football stadium. It was built between 1973 and 1980 to designs made by Le Corbusier in the late 1950s. He also planned a giant stadium and other facilities in advance of a mooted Olympic bid, but only the gym was built. His designs for the Olympic project were on show at the V&A a few years ago, but City of Mirages: Baghdad 1952-82, at the Center for Architecture in New York until 5 May, puts the work in a larger context.

Hurricane Sandy brought to New York much more wind than rain, and the greatest damage has been near the Atlantic Ocean, the Long Island Sound, and the two rivers. We all knew which neighbourhoods faced the most immediate danger – Battery Park, Red Hook, Rockaway – but it wasn’t until late last night, safe at home, that I realised the hurricane spelled trouble for most of the city’s art galleries, clustered together in Chelsea a block from the Hudson. I went down this morning. The water has receded (mostly – 21st Street was impassible today), but there’s still no power, and the damage is total. Every celebrity architect you can name has retrofitted one of these spaces, but they weren’t made to withstand this kind of onslaught. They’re low-slung warehouses, mostly, with garage doors at their entrances. The hurricane warped many of the doors; I saw a team of dealers trying to pry open a metal gate with a crowbar.

The Summer Is Over, a new exhibition in New York by the Belgian artist Luc Tuymans (until 9 February), consists of seven paintings: three pairs of canvases depicting mundane details of life in Antwerp and, alone on a wall, a self-portrait that doesn’t look much like Tuymans. The artist gazes out from the painting unthreateningly, showing none of the severity he can display in person or in photographs. His cheeks are uncharacteristically fleshy, and his full head of white hair is painted so subtly that he looks almost bald. The ubiquitous cigarette isn’t in evidence either. Nearly a third of the painting – depicting the wall over his shoulder – is simply white. Me (2011) is his first self-portrait in nearly twenty years.