His point-and-click brand of anti-glamour has appeared in too many fashion glossies to list and has helped create Marc Jacobs's advertising image, but more and more Juergen Teller is turning the camera back on himself. In two solo shows—Daddy You're So Cute, at New York's Lehmann Maupin gallery, and Don't Suffer Too Much, at Milton Keynes outside London—the German-born, London-based photographer brings his warts-and-all approach to portraiture into the territory of autobiography, offering intimate looks at the artist himself. In the exhibitions, Teller has shed all pretenses—and clothes—in nude photos like this one in which he squats (and dangles) on a soccer ball in an apparent affirmation of his closeness to the sport. His childhood in Germany and his family—especially his father, a volatile alcoholic who took his own life in 1988—also figure into the show, with photos of both Teller and his mother appearing less than sympathetic at the elder's grave.

In his pioneering career as a conceptual, video and performance artist during the 70's and 80's, Vito Acconci will probably always be known for a 1972 piece in which, huddled beneath a platform built inside a gallery, he masturbated to fantasies about the people walking above. But since the early 90's, the scruffy, chain-smoking Acconci has instead been laboring as a full-time, experimental architect, and his designs—still daring—can be seen at Acconci Studio: Slipping into the 21st Century at Manhattan's Pratt gallery. Included among the projects are his unsubmitted plans for a rebuilt World Trade Center (left) and the curvaceous, PVC-coated interior for United Bamboo, the smart New York label that opens its Acconci-designed Tokyo boutique September 24.

London is having an Isaac Julien moment, with both Victoria Miro and Sketch galleries showing works by one of Britain's most celebrated black artists. In his films, Julien infuses cinematic archetypes (like documentary, blaxploitation and film noir) with examinations of racial and sexual identity in scenes that are both narrative and highly-aestheticized. The 2001 Turner Prize shortlister has a fondness for using multiple screens, and one of his better-known works, Trussed (1996)—with its stylized sado-masochistic imagery—will create a 360-degree panorama of Mapplethorpian homoerotism at the bar-restaurant-gallery Sketch.