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A selective listing by critics of The Times: New or noteworthy art, design and photography exhibitions at New York museums and art galleries this weekend. At many museums, children under 12 and members are admitted free. Addresses, unless otherwise noted, are in Manhattan. Most galleries are closed on Sundays and Mondays, but hours vary and should be checked by telephone. Gallery admission is free unless noted. * denotes a highly recommended show.

Museums

* "AUSTRIA WEST: NEW ALPINE ARCHITECTURE" AND "NEW ALPINE RESIDENCES," Austrian Cultural Forum, 11 East 52nd Street, (212) 319-5300, through Oct. 30. An exciting survey of more than 70 structures - from hotels to factories - produced by what amounts to a thriving school of young architects working in the Austrian provinces of Tirol and Vorarlberg. Their historical pedigree reaches back to the International Style and the Bauhaus but has been relaxed by postmodernism and inspired by recent advances in building materials, techniques and systems. Nothing helps the new Alpine architecture like the grandeur of the old Alpine landscape, but this show confirms the point so often lost on American builders: that elegance, sustainability, innovation and respect for the environment are not antithetical. A show within a show of 40 residences by the same architects reflects more intimate applications of their ideas. Hours: Mondays through Saturdays, 10 a.m. to 6 p.m. Free (Roberta Smith).

* "DESIGN IS NOT ART: FUNCTIONAL OBJECTS FROM DONALD JUDD TO RACHEL WHITEREAD," Cooper-Hewitt National Design Museum, 2 East 91st Street, (212) 849-8400, through Feb. 27. This bracingly contentious but spatially challenged and cursory show is worth seeing, if only because it is the first in an American museum to survey the functional and semifunctional objects designed during the last three decades by artists, in this case 18 well-known Minimalists, post-Minimalists and post-post-Minimalists. The show is overdue, which also makes it seem late, as it ignores many younger artists. It also resembles a high-end home furnishings store. Points of interest are few: Richard Tuttle's lamps, John Chamberlain's carved foam couch, Joel Shapiro's side tables, crystal tumblers by Sol LeWitt and, above all, Franz West's decorate-it-yourself table and chairs. The only designs that seem likely to last are those of Donald Judd, who presides over the exhibition as Picasso would over a survey of Cubism. By default the show reminds us that design is a pressing social issue, which makes it slightly revolting to see successful artists indulge themselves at society's expense. Hours: Tuesdays to Thursdays, 10 a.m. to 5 p.m.; Fridays, 10 a.m. to 9 p.m.; Saturdays, 10 a.m. to 6 p.m.; Sundays, noon to 6 p.m. Admission: ; students and 62+, (Smith).

"THE GAMES IN ANCIENT ATHENS: A SPECIAL PRESENTATION TO CELEBRATE THE 2004 OLYMPICS," Metropolitan Museum of Art, Fifth Avenue and 82nd Street, (212) 535-7710, through Oct. 3. Established 200 years after the original festival that began at Olympia in 776 B.C., the Panathenaic Games in Athens followed much the same lines, except that they awarded far more valuable prizes than the simple wreaths that crowned Olympic champions. Chief among them were large painted amphorae (vases) filled with valuable olive oil from a sacred grove. The Met has placed nine of these treasures on display in special showcases in its first-floor Greek galleries, along with other works, and set up a kind of treasure hunt for visitors throughout the rest of the galleries by placing special markers next to other games-related art. Hours and admission: see above Sundays, and Tuesdays through Thursdays, 9:30 a.m. to 5:30 p.m.; Fridays and Saturdays until 9 p.m. Admission: ; students and 65+, (Grace Glueck).

* "ANDY GOLDSWORTHY ON THE ROOF," Metropolitan Museum of Art, Fifth Avenue at 82nd Street, (212) 879-5500, through Oct. 31. "Stone Houses," Mr. Goldsworthy's two-room sculpture with spectacular park views is the Met's first foray into site-specific art - the Temple of Dendur notwithstanding. Paradoxically, the piece is more conventionally portable and object-oriented than the ephemeral, seamless fusions of natural settings and materials for which Mr. Goldsworthy, a maverick magician and a consummate popularizer of radical sculptural ideas, is best known. The work consists of two stone cairns, each enclosed within and only partly visible through a rough split-rail wood beehive dome 24 feet in diameter. Nearly 15 feet tall and ingeniously balanced, the cairns are ditsy, teetering presences, at once alien and comic. They have some of the Goldsworthian trompe l'oeil magic, but not enough to distinguish the work as a whole from the ever-expanding genre of rustic, semifigurative sculpture. Mr. Goldsworthy is more original as a popularizing rogue, whose work is one of the art world's unacknowledged guilty pleasures. Hours and admission: see above (Smith).

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