The Armory Show is America’s leading fine art fair devoted to the most important art of the 20th and 21st centuries. In its eleven years, the fair has become an international institution. Every March, artists, galleries, collectors, critics and curators from all over the world make New York their destination during Armory Arts Week.

There’s never been a better time for design enthusiasts to visit NYC than this March.

The New York Design Festival encompasses a series of art and design events taking place between March 15th and 22nd, 2010. Anchored by the Architectural Digest Home Design Show (March 18-21), DIFFA’s Dining by Design (March 18-22) and Go Green Expo (March 19-21) at Piers 92/94, the NY Design Festival offers a week of exhibitions, educational programming and special events to celebrate New York City and its role as the leader in the fields of architecture and design.

The Museum of Modern Art’s exhibit featuring artist, filmmaker, and innovator Timothy Burton opened on November 22nd to rave reviews and widespread praise; and the excitement hasn’t died down just yet.  The entrance to the showcase swallows you (literally) through a gaping mouth with fanged teeth, and leads you to a brilliant display of the artist’s signature drawings, costumes, creations and films.  The evolution of Burton is evident as you see each period of his life broken down and dissected through hundreds of his works – from Edward’s intricate scissors to preliminary sketches of Beetlejuice – each piece shows the maturation and development of his signature style.  The exhibit gathers a large crowd at all times, so be sure to get a timed entrance pass through the museum’s website.  For film buffs and art aficionados alike, this is one exhibit that should not be missed.

Typophiles will gravitate to this installation of posters and small works collected from a range of printed materials, from magazines to advertisements to brochures. The collection of Soviet Russian, German, Dutch, and Czechoslovakian works evidences the widespread influence of designer Jan Tschichold’s book Die Neue Typographie, and its swift adaptation in the 1920s and 1930s by modernist designers. The New Typography movement turned away from traditional type arrangement and viewed the page as a blank canvas in which type could be placed to create a composition.