This Guggenheim’s survey helps place Münter (1877–1962) back at the center of modernism’s early twentieth-century development—a role still frequently eclipsed by her erstwhile partnership to Wassily Kandinsky and his outsized legacy.

Stocked with a rotating cast of mock-Middle Eastern actors, the simulated villages stage “live-play scenarios” for soldiers on the ground: chief among them, locals recusant in language, cooperation, and attitude. It is in one such faux village, named Medina Wasl, that Atropia is set.

Opened recently, the Shepherd is one of a thriving set of non-profit art centers on Detroit’s east side, from LANTERN to the Progressive Art Studio Collective. If its religious origins persist only in name, the Shepherd remains a lively site of community congregation—Seen/Scene adds a thoughtful chapter to that history.

First mounted at Vienna’s Museum moderner Kunst Stiftung Ludwig Wien (mumok), this stimulating exhibition reveals the breadth and depth such appreciation came to take in the century to follow.

Bruce LaBruce’s The Visitor (2024) opens with a screen of electric yellow, the words “To PPP” emblazoned in bright red. The film’s debt to Pier Paolo Pasolini—more specifically to his Teorema (1968)—thus appears spelled out from the start. Its precise relationship to the original remains, however, fittingly provocative.