Fashion forward. Stylish or not, clothing reflects culture. Open your closet and you’ll find perhaps the greatest artistic statement available on pop culture. What you’ll see, too, is that the hottest trends are often the result of slight twists on traditional mainstays. The Philadelphia Museum of Art is featuring an exhibition detailing the amazing beauty of kimonos, the Japanese staple. Perceived on this side of the world as antiquated garb, the museum’s display actually exposes a rather beautiful and dramatic evolution. The epitome of old world meets the modern age. The highlighted pieces date back to the early 20th century, when simple designs and soft dyes were the norm, and run through the much bolder and extravagant looks of modern day. “Fashioning Kimono: Art Deco and Modernism in Japan,” continues through July 20, Philadelphia Museum of Art, Benjamin Franklin Parkway at 26th Street, Philadelphia; 215-763-8100; www.philamuseum.org.

Fresh creation. The 18-member Lambertville, NJ, artists’ cooperative known as The Artists’ Gallery has a way of uniting two seemingly contrasting artists through a common perspective. Such is the case with an exhibition by Marc Reed, who specializes in the American industrial landscape, and Alla Podolsky, an oil painter with an uncanny ability to capture people in their most natural form. Reed has been painting large, oftentimes abandoned factories and buildings for years. For this show, he’ll be featuring the corresponding photographs. Podolsky’s art also emits a certain raw vibe, only hers comes in the form of particularly personal expressions as opposed to the cold structures depicted in Reed’s images. “Recent works by Reed and Podolsky,” July 11 through August 3, The Artists’ Gallery, 32 Coryell Street, Lambertville, NJ; 609-397-4588; www.lambertvillearts.com.

Pain relief. Physical pain is relatively simple to treat. Have a headache? Take some aspirin. But what aids a heartache? The cures for emotional pain often need to be deciphered solo. After living a hellish life, Lilli Gettinger discovered the solution for her mental anguish: art. The Holocaust survivor began spinning her private nightmares into public spectacles. An exhibition at the Michener, Doylestown, features her polychrome relief sculptures and pastel drawings, which at once illustrate the horror of the concentration camps and Gettinger’s incredible ability to find amid such tragedy the beauty that ultimately allowed her to move beyond the experience. “Lilli Gettinger: Memory Transformed,” continues through August 3, Michener Art Museum, 132 Pine Street, Doylestown; 215-340-9800; www.michenerartmuseum.org.

The surreal life. Life is peculiar. And yet, what provides the greatest comfort is the acknowledgement of universal thoughts and emotions. That familiarity helps us feel less alone. But the beauty of life’s many nuances is lost in that particular translation. Life — and everything that falls under its vast umbrella — means many things to many people. Therein lies the beauty of Salvador Dali, the artist whose perception of reality was very different from what most accept it as being. His surrealistic paintings are glimpses of his subconscious, a place that oftentimes makes little sense to the observer but was understood by Dali himself. The resulting images are almost secondary. His willingness to venture into the unknown is what separates Dali from other artists, from most everyone else, and, ironically, lends a deep sense of unrivaled intimacy to his art. “Dali: Painting and Film,” continues through September 15, the Museum of Modern Art, 11 West 53d Street, New York, NY; 212-708-9400; www.moma.org.

Carved expressions. For many of us, the mere mention of woodworking conjures awful recollections of high school woodshop and the struggle it brought to try to look cool in big, bulky safety goggles. It, however, means something much different to Steven Paulsen, for whom woodworking is not only his livelihood but his life’s calling. His life soundtrack is the buzz of a saw, the air around him forever filled with dust. The incredible craftsman has been shaping furniture, fixtures and wood prints for over 45 years. His natural talent brought him national recognition, which inspired him to new levels of innovation. Soon, he began crafting wall constructions that worked as condensed short stories, offering a fleeting glimpse into a fictional world. A retrospective presents a much more detailed study of the incredible evolution of this woodworker. “Civilization as They Knew It: Work by Stephen Paulsen 1963-2008,” continues through July 19, the Wood Turning Center, 501 Vine Street, Philadelphia; 215-923-8000; www.woodturningcenter.org.

Nocturnal narrative. Trenton Doyle Hancock’s abstract art depicts the classic struggle between good and evil. But it’s merely a familiar portal into the wildly imaginative world in which Hancock lives and creates his dramatic installations. A decade ago, as a graduate student at the Tyler School of Art, Hancock created the Vegans, one half of what would evolve into a sprawling, mythic tale that progresses with each new Hancock installation. The Vegans are an evil, tofu-worshiping mutant species that want to destroy all Mounds, a gentle, human-plant hybrid. In celebration of the anniversary of the series’ inception, the Institute of Contemporary Art hosts an exhibition that delves into the Vegans’ creation. A 90-foot ramp hung with Hancock’s custom-made glow-in-the-dark wallpaper illustrates the violent murder of several hundred baby Mounds. The wallpaper changes in appearance over the course of the day, with more subdued images replaced with the fall of night by more vibrant, almost three-dimensional scenes. “Trenton Doyle Hancock: Wow That’s Mean and Other Vegan Cuisine,” continues through August 3, Institute of Contemporary Art, 118 South 36th Street, Philadelphia; 215-898-7108; www.icaphila.org.

Born Again. Whether you will admit so in public or not, ABBA was once one of your favorites, too. Its songs were absolutely contagious, which explains the popularity of Mamma Mia, a musical built around the former Swedish pop group’s upbeat songs, and the fact that it’s almost impossible to walk out of a performance feeling anything less than lighter than air, even for the pessimistic among us. Since eating Broadway for breakfast, Mamma Mia has gone global with 30 million people estimated to have seen it internationally. The touring production stops in Philadelphia in July for a 10-day stint at the Academy of Music. Keep in mind, it’s fine to have “Dancing Queen” stuck in your head for a few days afterward. It’s not, however, okay to sing out loud in the company of your coworkers and friends. ABBA works in the context of this show, but not anywhere else. This is 2008, not 1975. Mamma Mia, July 15 through July 27, the Academy of Music, Broad and Locust streets, Philadelphia; 215-551-7000; www.academyofmusic.org.

Spoiled rich. Tell us this doesn’t sound like the typical vehicle for the cute but very vanilla Anne Hathaway: Rich and clever widow falls in love — with Paris as a backdrop, no less. There is a dilemma, though. When said widow remarries, her tiny country goes bankrupt. In the meantime, there are lots of over-the-top gala and, of course, carefree antics. It goes to show that you can’t judge a book by its cover — or a plot by a simple synopsis, which, in this case, describes the much-loved operetta, The Merry Widow. Of course we keenly disguised it and left out some of the most significant details about the upcoming performances at McCarter Theatre: Beautiful early 20th century costumes, lavish sets, a full orchestra and richly textured voices. The Merry Widow, July 18 through July 26, the McCarter Theatre Center, 91 University Place, Princeton, NJ; 609-258-2787; www.mccarter.org.

Road Warriors. The average perception of a musician is glorified. Lavish tour buses. Groupies waiting at every stop. Penthouse suites to retire to after an adrenaline-fueled performance before 30,000 screaming fans. This, however, is far from the reality of most musicians, including the roots-rock band Last Train Home. Its beginning was humble. Band members held down day jobs and performed locally, in the Washington, DC, area. Its ascension since has been subtle. Considered one of the most formidable acts of its kind by critics — the ensemble garnered artist of the year honors in DC in 2003 — but life didn’t change much. The band still spent much of its days driving between venues, though the venues were slightly larger than before. But that was enough because the constant throughout was the music. And as long they had the freedom to play their intriguing brand that incorporates hints of pop and blues and even mariachi and punk, the rest was always appreciated, but never necessary. July 11, 8:30 p.m., Puck, Printers Alley, Doylestown; 215-348-9000; www.pucklive.com.

Barbara Flashback. The musical Funny Girl is a trip back in time, in part because of its dated content, but mostly because of what it’s come to represent. Following its Broadway debut in 1964, the production played for nearly 1,400 performances. It was later adapted for the screen and went on to become the top grossing film of 1968. And its star, Barbara Streisand, who also starred in the stage edition when it opened on Broadway, landed the best actress Oscar, which she shared with Katherine Hepburn. In other words, Funny Girl was The Producers of the sixties, only the movie wasn’t a dumbed down version of the stage version. We will always associate Barbara with Fanny Brice, the comedienne upon which Funny Girl is loosely based, because it’s how many of us were introduced to her — amid the hazy, freewheeling late sixties. Funny Girl, July 23 through August 3, the Bucks County Playhouse, 70 South Main Street, New Hope; 215-862-2041; www.buckscountyplayhouse.com.

The beat goes on. For 10 days in August, Bethlehem — yes, Bethlehem — becomes the capital of the national music scene. Entering its 25th year this summer, Musikfest has grown by leaps and bounds from its humble beginnings as a small-time, grassroots affair. The “fest,” as locals prefer to refer to it, this August will spotlight over 300 performers on 14 stages (10 of which are free) and draw more than a million spectators. There’s a taste of everything, from Celtic to hip hop, local, emerging talent to household names like Citizen Cope, Edwin McCain and the Stone Temple Pilots. And, unlike other festivals of its kind, of which there are very few, the vibe is laid-back and family friendly. Aside from the always-present music, there’s food, activities for kids, art exhibitions and a be-all, end-all fireworks display on the festival’s closing night. Musikfest, August 1 through Aug. 10, various locations, Bethlehem; 610-332-1300; www.musikfest.org.

Folk Revival. The Philadelphia Folk Festival is that rare animal that manages to thrive while the landscape becomes increasingly less conducive for doing so with each passing year. And that’s because the folk festival is more than simply a music festival. It’s an occasion for longtime friends to come together, a tradition that’s passed through generations of families. Sound over the top? The folk festival enters its 47th year in August. Consider how much music tastes have changed in that time, how marginalized folk music has become by the mainstream over the last half-century. And yet the folk festival continues to grow — more than 60 acts over three days this year — and, perhaps more importantly, evolve. Newcomer Groovemama shares top billing with icons Steve Earle, Janis Ian and Judy Collins in an effort to entice a new generation of hippies. Long live the free spirit. The Philadelphia Folk Festival, August 15 through Aug. 17, Old Pool Farm, Schwenksville, PA; 610-287-8022 www.pfs.org.