The jury’s still out — way, way out — on what our favorite things of 2020 might turn out to be. Artists are still getting themselves organized, shows are still congealing and some curators are probably still scratching their heads. Smaller organizations, in particular, haven’t announced their plans for next year. But based on currently available information, here are five things to look forward to in 2020.

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Reopening of Seattle Asian Art Museum, Feb. 8

On Feb. 27, 2017, the Seattle Asian Art Museum (SAAM, sometimes pronounced sah-AM) closed its doors for renovation and expansion. Some of us have been counting the days (1,075, to be exact) before we could get reacquainted with its gorgeous classics: scrolls, statuary, that iconic gold-and-ink painting of crows by an unknown Japanese artist that stretches across six screens. Its inaugural contemporary exhibition is “Be/longing,” a group show of 12 artists from Azerbaijan, Iran, India, Thailand, China, Korea and Japan about “who we are and where we belong … in an age when the world is becoming more diverse and mobile.” (That’s verbiage from the museum.) Whether or not you were among those protesting SAAM’s expansion into part of Volunteer Park, it will be good to have the museum back in visual circulation. Free reopening celebration weekend Feb. 8-9; seattleartmuseum.org/visit/asian-art-museum

Dani Tirrell: “Black Bois,” Moore Theatre, Feb. 14

The sold-out 2018 world premiere of “Black Bois” at On the Boards was a jolting reminder of how energizing, how profound, how communal dance can be. Eight dancers, live musicians (including violin/fiddle player Benjamin Hunter), a poet (J Mase III) and artists “painting” with water on an upstage wall created what Tirrell called “a love letter to our bodies, our spirits, and our minds. This is the story of our fathers, brothers, lovers, and friends. A healing space, a space to process, a space to love, a space to create and be.” The result had the crowd rapt, hollering, maybe even crying a little as “Black Bois” moved through the prism of human experience: sacrality, suffering, eros, all that essential stuff. In an art world riddled with clever, knowing, anxious and weary work, “Black Bois” stood out as a strong, living expression. Now Tirrell is bringing the show back for a one-night performance at the Moore Theatre. What better way to spend Valentine’s Day? Tickets $40-$50; stg.org

Jitney,” Seattle Repertory Theatre, Feb. 28-March 29

August Wilson passed away in Seattle, his adopted city, in 2005. But his plays are part of the American canon — always relevant, always something to look forward to. “Jitney” is the eighth in his “Pittsburgh Cycle,” 10 snapshots of Black life in Pittsburgh’s Hill District between the 1900s and the 1990s. (The exception: “Ma Rainey’s Black Bottom,” which was set in a Chicago recording studio.) The story goes that in 1982, when Wilson took his mother to see the play at the now-defunct Allegheny Repertory Theatre in Pittsburgh, they arrived by jitney — the not-technically-legal cabs that served Black neighborhoods like the Hill District, where official and licensed cabs refused to travel. Like all of Wilson’s plays, “Jitney” is keenly interested in the economics of Black American life, and the intertwining of love, money and loyalty. Ruben Santiago-Hudson, who won a Tony for directing “Jitney” in 2017, directs this national touring production. Tickets on sale Jan. 13; seattlerep.org

Timothy White Eagle: “The Violet Symphony,” On the Boards, March 19-22

Timothy White Eagle is a big guy — literally and figuratively. His salt-and-pepper beard, flowing mane and towering stature are easy to spot at arts events around town, where he is a regular presence. White Eagle also has a big circle of collaborators — great artists around town and beyond (choreographer Alice Gosti, photographer Adrain Chesser, performance-art legend Taylor Mac). Together, they, in White Eagle’s words, develop “objects and performances which contain the convenience of Spirit.” White Eagle’s artistic Spirit work is concurrent with his tutelage under Shoshone Elder Clyde Hall. (White Eagle’s mother was Apache from White Mountain, but he was raised in a white, Mormon, working-class family in Washington state.) “The Violet Symphony” is rooted in the true story of Violet Plague, a charismatic, performative panhandler in the Castro District of San Francisco who, White Eagle says, died of a drug overdose on New Year’s Eve many years ago. Whatever this show winds up looking like, expect to leave at least slightly transformed. Tickets $10-$75; ontheboards.org

Sweat,” ACT Theatre, March 20-April 12

The last time Seattle saw a Lynn Nottage play on a big stage was “Ruined” at Intiman Theatre, a psychologically complicated and emotionally discordant drama about life in a brothel surrounded by war in the Democratic Republic of Congo. It was a searing and memorable work. Her play, “Sweat,” about a Rust Belt bar where local factory workers drink, laugh and argue, and how striking female workers disrupt its social fabric, won a 2017 Pulitzer Prize. This production features some great actors (Tracy Michelle Hughes, Anthony Leroy Fuller, Anne Allgood) directed by John Langs, one of the best directors working in Seattle these days. Tickets $27-$75; acttheatre.org